os travellings violentos em direção de um nada aparente até perceber que isso é recorrente no cinema do kurosawa; eles se dão para manifestar algo invisível, o sobrenatural. vale ressaltar que para kurosawa o sobrenatural é uma soma das condições materiais, científicas e espirituais. o maravilhoso e o terrível apossam-se, ao mesmo tempo, dos protagonistas em toda a sua filmografia.
3.5 Yabuike's stance toward the tree(s) somewhat reminded me of Antoine Roquentin's encounter with the root of a chestnut tree in Sartre's "Nausea", only here the absurdity and superfluousness of existence are welcomed rather than met with disgust. Existence wins, but what is lost? CHARISMA may not extend its roots all the way to existentialism, but there are lots of existential questions sprouting about.
What Kiyoshi created here is an illogical, Seijun-like forest-remnant-space. As his other work, there's no specific clues or resorts to solve the mysterious events. There are repetitive and self-reproductive allegories which has been rooted from kidnap failure in the opening. After that it's all vague, suggestive series of physical reenactments of allegories. Strangely it works.
(on the side all social metaphors) as if our perspective was from the eyes of trees, in moments it seemed like they are steadily (and even indifferently) observing a creation of a myth. and together with myths they will live thousands of years. peter hutton made completely silent films in which you can hear the wind, kurosawa made films with trees coated in smiling trunks.
FNC '12 (tribute section) Mesmerizing, difficult, surrealist, challenging, provoking and in the end satisfying environmental thriller from Kurosawa. Our character enters the forest and finds a bizarre struggle taking place for the protection or removal of a tree that may be destroying the ecosystem of the forest or perhaps keeping EVERYTHING alive. Disjointed and bizarre editing choices work in the pic's favour.