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The cinematography was amazing, and the performance by yoshiko tsuruoka was haunting too, But overall, it was disappointing; it lingered on each scene for minutes, and the whole film seemed to be a product of the director’s obsessions. The plot, as it were, was related entirely through intertitle-like scrolls. I suppose that would be an interesting experiment, and at times it did intrigue, but it completely failed to draw one in to the characters.

A flawless display of how film is truly the most universal medium of artistic expression, as well as a medium that is not afraid to push the boundaries of what is deemed acceptable and accessible enough. Which has the ability to completely change a person’s perception of very real, human acts they might never encounter or consider. Allowing film to free itself from the despotic rules that attempt to keep everything safe and clean. ‘Patriotism’ manages to encompass elements of high art, theater, poetic dialogue, decidedly simple cinematography, and use of the camera to present the film as if on a stage. The central act is done graphically, and almost in a voyeuristic manner, which I believe was Mishima’s intent, to force the audience to watch and accept this man’s death. Seppuku, like death or suicide, is a solitary experience, beyond the ritual itself. As the central act of the film, the intensity builds rapidly, like a pulse beating harder, faster, until finally it slows to almost nothing, and then stops. And in agreement with Jung’s comment, the act is perfectly articulated by the film’s brief length and its simple expression surrounding Mishima’s pragmatic view of Seppuku.

Art, theater, poetic dialogue, and the freedom of true artistic vision come together in perfect harmony in this ominous, yet deeply human story of what Camus called" humanity’s greatest problem," the decision to end one’s own life.

For its entire duration, Patriotism is essentially performed on a Noh stage with unbridled intensity and poeticism. Choosing scrolls as title cards, this is shot very much like a silent film. Despite the graphic act committed at its center, its portrayal is inspiring in its simplicity. And as is customary with most Criterion releases, the great host of special features included give great insight into Mishima and his controversial views.