River - The Timeloop Hotel

Actually, the movie is not hard to follow at all. I was just thinking about how to try to explain this to anyone. How do you not spoil anything, but still explain the wild genre switches? I mean, as I'm writing this, the major genre is not even listed on this site, but I don't even want to fix it, because it would kind of make the movie worse.

And in general, I'm not against spoilers. Usually the "how" is much more interesting than the "what" and the "what" is usually so obvious that knowing it beforehand doesn't really matter, but this movie does the whole thing so differently that I wouldn't want to point anything out.

Is this even helpful to anyone? It's a cute little movie that accomplishes much more than anyone can ask of it. It's this little gem that manages to mix wildly different ideas in a way that doesn't feel forced. If nothing else, it's interesting from a filmmaking point of view.

Asian cinema. With pleasure. Not even 90 minutes. Absolutely.

The visuals are a journey back in time to the 90s of Asian cinema, especially because of the lighting.

To digress a little first: Scenes shown make a European somehow melancholy. Japan has preserved its traditions and culture, its identity. No alienation, er I mean "diversity" of course, no loss of values, quality of life and inner security through unpleasant religions or primitive origins. As if more and more pages are being torn out of a book that is hundreds of years old. Those who don't understand its written words, will never understand them, don't want to understand them or are generally illiterate, don't care.

Back to the point: The basic premise of the time loop is of course nothing new, but the extremely short two minutes here open up completely new possibilities for ideas. And the film is bursting with them. The entire running time is entertaining, consistently interesting, often funny, sometimes sad. Even for viewers with viewing habits that deviate from this cinematic origin, I think the film can be consumed without hesitation and offers a wonderful time in front of the screen.

I was exceptionally pleased with Yamaguchi Junta's 2020 film 'Beyond the infinite two minutes': a charming, indie, low-budget sci-fi comedy that was well-rounded, clever, and funny, easily beating out countless major studio offerings in the process. It was also very smart in playing with time as a core plot device (e.g., travel through, communicate through, loop through, and so on), to an extent that either solicited hard scrutiny of its conceit and/or became delightfully complicated therein; either way, one was well served by not getting bogged down too much in those details. Fast forward a few years and Yamaguchi and screenwriter Ueda Makoto attempt an equally risky venture in 'River': a sequel. Facing the triple challenge of standing on its own merits, following its predecessor in a unique but meaningful way, and broadly quelling the doubts that commonly dog sequels, how is this 2023 feature? I came in with high expectations, and happily, they've not just been met, but exceeded - Yamaguchi and Ueda did it again, and this is a blast! In fact, I'm firmly of the opinion that this is even better!

This picture shares definite kinship with its forebear in various ways, not least in cheekily toying with a very small discrepancy in time, and being restricted to a single setting that is employed in an inventive fashion. The same cast returns to fill new roles alongside newcomers, and Yamaguchi again very much favors lengthy shots that follow individual actors throughout a space, giving cinematographer Kawagoe Kazunari and the crew a bit of a workout. The difference here is that as the nature of the scenario differs from the previous, it emphatically turns away from bearing the appearance of a single, continuous long take, and Yamaguchi gets to illustrate yet again that his skills as an editor are as tight, light, and nimble as his capabilities as a director. Likewise, Ueda once more gives us narrative and scene writing that joyfully overflow with both flavor and complexity, and we can either try to tease out the rules of the reality as it presents - impudently playing fast and loose with time - or just sit back, relax, and enjoy the ride. With the premise here being a time loop, Ueda effectively has a chance to slyly let similar scenes take different paths. And, yes, there's also a tiny but pivotal narrative idea linking the plots of the two titles within the same universe.

Wonderful themes reveal themselves of fearing the future, wanting to hold onto the present, and wishing for the happiness of past days; how we react in extraordinary circumstances that test us, and the extent or limits of bonds of community; strengthening bonds through adversity, and gaining personal insight; and finding the courage and will to move forward despite apprehensions. Yet these are all rolled very organically into the proceedings with marvelous ease and grace, and moreover, at the same time that 'River' evokes real feelings and stimulates our thoughts, it's also highly absorbing, immensely entertaining, and altogether hilarious. The screenplay is an absolute gem, earning many, many laughs - more than 'Beyond the infinite two minutes,' really - and even where the story unexpectedly broaches notably darker airs, these are subsequently twisted into morbid humor that only further heightens the heartfelt earnestness and warmth that ultimately defines the movie. The dialogue is stupendously bright, and the varied characters in and of themselves are a highlight as we get to know them throughout these eighty-six minutes. I'm inclined to believe this flick is even more well balanced than its elder, demonstrating further development in the skills of all, and particularly of Ueda: the writing is even more solid as every little thread is resolved, all tidbits brought back in substantive ways, and the premise executed with more polish and hardier constitution.

Far be it from me to focus so much only on the screenplay, though, because in every other capacity 'River' is terrifically well made. I repeat that Yamaguchi shows himself to be a very shrewd, adept director, and editor, and Kawagoe's cinematography is gratifyingly smooth, fluid, and dynamic - all of which I think is extra important here given the short bursts of time in the plot, and the way that scenes move about. Speaking of moving about, for as much as I appreciated the cast in 'Beyond the infinite two minutes,' now I downright love them. The characters are already so fun as they're written, and as the players inhabit these figures they bring fantastic energy and personality to each and every one. Given emphasis in the script on waitress Mikoto it's safe to say that Fujitani Riko stands out most, and has the most opportunity to exercise her craft, but truly every other cast member is just as superb, and all get their time to shine. The filming location Yamaguchi was able to secure for the production is absolutely gorgeous; like the café in the prior film, it's so cozy and inviting that I wish I could visit the inn myself. The production design, art direction, and costume design are modest, but utterly splendid; I adore the music as it adds to the humor and overall lighthearted vibe. Honestly, as far as I'm concerned this is pretty much perfect.

Again, I treasured 'Beyond the infinite two minutes,' and having seen it I anticipated much the same from another movie. After a few minutes of exposition this kicks up very quickly, and as it did I found myself laughing over and over. With equal parts frivolity and sincerity, and benefiting from the utmost care, intelligence, and hard work of all involved, 'River' is even better than I could have hoped. I have a hard time imagining that anyone could sit for this and not step away having had a great time. I don't know if Ueda and Yamaguchi have another flick up their sleeves (I certainly hope so) or if this is the terminus of this specific line of brilliant creativity, but one way or another this is an incredible highpoint that they and their collaborators should be proud of. For my part I outright cherish 'River,' and I'm all so glad to give it my very high, hearty, and enthusiastic recommendation!

Mikoto (Riko Fujitani) works at a remote inn located in the mountains north of Kyoto, where she has congenial co-workers and usually pleasant customers. While gazing at the river bordering the inn one day, she suddenly finds that she and the other inhabitants of the inn have fallen into a "time loop," where every two minutes she is inexplicably back at the river as if the previous two minutes had never occurred! Fortunately one of the chefs at the inn was a "science major," and he goes to work at deducing the cause of the loop with the aim of restoring proper time to the inn; in the meantime, all of the people there must find ways to cope with their strange predicament....

Two years ago, Montreal's Fantasia Festival (online that year) showed "Beyond the Infinite Two Minutes," one of the most hilarious films about time loops ever made; "River" is director Junta Yamaguchi's bigger-budget follow-up, and like its predecessor it is both charming and hilarious for the entirety of its short (82-minute) length. I don't want to say more because the film should be experienced with no preconceptions, so let me just note that you are unlikely to find anything more visually beautiful, with more exquisite and perfect timing from both the actors and the scenarios being enacted, anywhere in this or any other universe. Highly, highly recommended!

This movie is so entertaining and it's mainly so thanks to the chemistry between the cast and crew which evidently suggests how fun (and hard) the preparation would've been. It's like a theatre group enchanting us with their presence and talent at so many places. I really wish that I get to witness these actors and filmmakers (of the theatre club Tollywood) in numerous other projects.

This movie, River, while in no way was better than Beyond the Infinite Two Minutes/Beyond the Infinite Two Minutes (2020), which introduced me to this awesome talent pool a few days ago (Nov 28th, 2023 to be precise), when I had lost hope that original, accurate, and entertaining movies could still exist.

However, this one was probably more charged emotionally, even though we only gets to see more of Mikoto and Tako, who makes it feel like a romantic comedy (but in a good way).

The plot device of time loop is okayish and isn't exactly explained as much as it could've been. Even the attempts to resolve the conflict were quite rushed, quick, and not at all came when stakes were high. At times, the repetition did seem a bit too much. Other characters could been shown more often than Mikoto's sole viewpoint everytime the loop reset. Would've loved more of that serial writer, publisher, and the duo who just ate rice and chatted (but even then they're funnier than probably everyone else).

It also had one of the best dates in movies and that brilliant reference to Audrey Hepburn-Gregory Peck classic, Ein Herz und eine Krone (1953).

Overall. Better than most movies of present era. At least most original movies. Not among the best though, unfortunately.

7.3/10.

(Jan 22nd, 2024)