Agua tibia bajo un puente rojo

This movie definitely had some flaws, not-so slight repetitiveness being the most glaring. However, I give it an 8, because the more I think about it, the more I like it.

If there has ever been a more effulgent, effluvient celebration of feminine sexuality on screen, I haven't seen it.

Seemingly infantile at first, the film continues to mature in my estimation. For instance, when the granddaughter confronts the salary man with her belief that he's only with her because she satisfies his kink, it comes across quite clearly as the primal scream erupting from that nagging "You only want me because fill-in-your-own-neuroses" doubt that most woman have felt in many relationships, at least fleetingly.

There are several such moments in the movie, but it is more of a fantasy romp than a psychological study or feminist manifesto, so I'll leave it there.

Good fun, attractive leads, check it out.

It's sad to know there will be no more new Imamura films. I think the previous reviewer is probably lacking a sense of fun. This isn't drivel; it's wicked fun. In the same way he dissects small-town vs. big-city attitudes in "The Eel," Imamura shows us how disconnected from real life the corporate world of Tokyo can make a man by thrusting him into the chaos of joblessness where everything he knows is useless. This is an opportunity to see the ever-hot Koji Yakusho at his James Stewart/Buster Keatonesque best in a story that's worthy of García-Márquez, for its utterly plausible mix of the other-worldly with the down-to-earth. I gave it a 9 out of 10 because Imamura seems to be mystified enough by women that he doesn't flesh out their characters as much as they might deserve, but the mystification is part of the story in this case. Great score, too!

This film is not a as good as Imamura's "The Eel", but is hauntingly memorable. The plot leaves a bit to be desired ,but the characters and the situations are engaging and intriguing. Like "The Eel" the film is populated by people outside of mainstream society, misfits and "losers", but all the more endearing for it. The film is full of memorable vignettes, the fishermen by the river, the couple who run the guest-house, the family run fishing business and the African runner. All of these characters and situations have hand in the transformation of the central character's transformation from unhappy salaryman, trapped by mainstream society, to an outsider with a new found freedom. This and "The Eel" have similar qualities to the films of Julio Medem. A sort of Japanese magical realism.

I was eager to see WARM WATER UNDER A RED BRIDGE - from the description on the back of the DVD I wasn't really expecting this to be THE EEL or BLACK RAIN but if it's junk, it is very well-crafted junk. The story (well commented upon below) is quirky/kinky and provocative, which is well-handled, and a few scenes were hilarious. The cinematography is beautiful - Imamura's films always have a very striking look, and on this front this film doesn't disappoint. WARM WATER... has a strong 'magic realist' quality - more than anything it reminded me a bit of some of Gabriel Garcia-Marquez' novels (if only Imamura had stuck in a failed insurgency or a grandmother floating into the sky). I didn't always know what to make of it - the mix of realism, quirkiness, kink, cuteness, humor, small-town mundanity and erotic strangeness all taken at once made me wonder what if anything Imamura might be trying to say (aside from the fact that reality can be strange and life doesn't fit so neatly into compartments). So - no masterpiece, but fans of Imamura won't want to miss it.

Yosuke Sasano is a salaryman in Tokyo who is let go from his job at an architectural firm. Struggling in his marriage and low on capital, he spends his days at the riverside, chatting with the homeless. He makes friends with an old man, who tells him about a treasure he left many years ago in the small fishing town of Himi, in Toyama Prefecture. Following the old man's death, Yosuke travels to Himi to try and find the treasure, though after meeting a local lady named Saeko, he finds something worth much more to him than any material object could ever be.

Directed by Shohei Imamura and based on Yo Henmi's novel of the same name, 'Warm Water Under a Red Bridge' is a charming romantic-comedy as original as it is strange. The screenplay- written by Imamura, Daisuke Tengan and Motofumi Tomikawa- examines several themes, not least of which is the search for happiness and meaning in life, as well as the connection between nature and human sexuality. Although realistic, the film has fantasy elements, and suggests that there is a mystical, spiritual force that binds all living things together, and that humans can tap into this force through love and pleasure.

Yosuke is dissatisfied with his urban existence and feels alienated from society. Through his search for the hidden loot, he discovers that real treasure is not material, but spiritual. He finds a new sense of purpose in the simple life of the fishing village, and in his passionate relationship with Saeko, who possesses a most extraordinary sexual gift. This gift has a miraculous effect on the environment, bringing life and fertility to the land and sea, linking everything that lives, grows and breathes together in a rapturous harmony.

There are also a myriad of sub-plots and minor characters who undergo their own arcs, such as a Korean fisherman who was discriminated against by the Japanese, an African runner, a transgender bar-owner and an old woman who survived the atomic bombing of Nagasaki. Through their stories of hardship and triumph, the film celebrates the diversity and resilience of human beings, emphasising the importance of individuality and determination.

'Warm Water Under a Red Bridge' is shot by frequent Imamura collaborator Shigeru Komatsubara, whose striking work captures the contrast and harmony between the urban and rural settings, the natural and artificial elements, as well as the realistic and fantastical aspects of the story. Through his use of long shots, close-ups, tracking shots and handheld cameras, he creates a dynamic and immersive visual experience for the viewer. His work enhances the film's themes of transition and connection, showing how Yosuke and Saeko cross over to a different world and discover a new way of living and loving.

It is a film full of symbolism, with the titular red bridge being most notable symbolically, representing the transition between different worlds and states of being. The bridge can be seen as connecting many things: the urban and rural, the modern and traditional, the mundane and magical and the repressed and the liberated. It could also be seen as a visual metaphor for the sexual union between Yosuke and Saeko, as they cross over to a new realm of pleasure and intimacy. It is also worth remembering that the colour red has a variety of meanings in Japanese culture, including happiness, life and passion. Komatsubara juxtaposes the red bridge with the blue water beneath it, creating a striking visual effect, again reflecting the film's themes of contrast and harmony.

Furthermore, Shinichiro Ikebe's score is both playful and poignant, capturing the humour and emotion of the story, whilst also reflecting and enhancing its themes. He utilises various instruments- such as the piano, strings, woodwinds, percussion and synthesizers- to create a rich and diverse musical landscape, while also incorporating some motifs from the film, such as the sound of running water. In addition, Hajime Okayasu's tight editing keeps proceedings moving at a swift pace, and Hisao Inagaki's muted production design is striking and commendable.

'Warm Water Under a Red Bridge' finds the always reliable Koji Yakusho starring as Yosuke, opposite Misa Shimizu as Saeko. Yakusho- arguably one of the best actors working today, in and outside of Japan- delivers a nuanced and empathetic performance, endearing himself to the audience from the get-go, and inducing laughs and tears along the way. Shimizu does similarly fine work as the quirky Saeko, handling both the dramatic and comedic aspects of her character with equal aplomb. They share a wonderful chemistry, and co-stars Mitsuko Baisho, Mansaku Fuwa and Isao Natsuyagi support them masterfully.

A riveting watch from start to finish, Shohei Imamura's 'Warm Water Under a Red Bridge' is a captivating romantic-comedy both weird and wonderful. Boasting striking cinematography from Shigeru Komatsubara laden with symbolism, a delicate and amusing score from Shinichiro Ikebe and subtle production design from Hisao Inagaki, it is both a visual and aural spectacle. Stars Koji Yakusho and Misa Shimizu deliver power-house performances, which are matched by their supporting players. A delightful, original gem, 'Warm Water Under a Red Bridge' has plenty to gush about.