There are two worlds in this house – the life of a mother and her daughter, and that of two women. As the two worlds start to merge, confusion develops. What will happen when they connect to each other?
A student of Japanese horror master Kiyoshi Kurosawa, Yui Kiyohara has imbued her impressive first film—a graduation project!—with an eerie ambiguity that is as elusive as it is irresistible. A ghost story of sorts, where two storylines mysteriously overlap, echoing the polyphony of Bach’s music.
Kiyohara refuses to answer every question that this film raises, which I think is the point and isn't to the film's discredit. Our House, much like the characters that live within, has secrets that don't need to be explained. This was a beautiful piece, and I'm excited to see where Kiyohara goes from here.
Um leve suspense que narra de forma sutil nebulosidades perpassantes à casa, sejam elas do âmbito físico ou etéreo e dispostas entre as personagens. Cores, jogos de luz e sombra e enquadramentos compõe delicadamente.
I couldn't relate to any part of this film, I'm afraid. It left me bewildered & bored. I saw no common touch points between the two occupants of the house & the denoument was painfully clumsy. Very high production quality for a graduate film, but this was either Japanese culture & sub-text completely passing me by, or a promising film maker's first work, but still one that should stay in the cupboard.
The mention of 11th grade winner in the credits made me convinced this was made by a 17 year old - I won't research to disprove this. Destined to always be discussed in relation to its influences, but also its own playful and puzzling journey. Full discretion: I checked out for parts given the nature of festivals 2.5
A film that places the emphasis on atmosphere, withheld secrets, and a constant eerie sense of external pressures and influences. An enigma of a film which does enough to arouse curiosity and anticipation, but not a wholly satisfying whole in terms of plot, mystery or understanding.
It opens a lot of questions which remain unanswered. Yui Kiyohara did an excelent job in creating mystery. Who is Seri’s father? What happened to him? Who is (or event better, who was) Sana? Why did she lose her memory? What’s Toko’s obscure job? What’s inside the present box? Who is the men in the coffee shop? Did he know the house? Did he stalk Sana? These are some questions the film brings and remain unanswered.