Rippu Van Winkuru no hanayome

"It's so difficult to be naked!" cried Amuro, the mysterious *villain* like character in "Bride for Rip Van Winkle".

Yes, in this world, we are always living under others' values. Those *others* love to attack you with their values without mercy. In Asian culture, this can be even worse. You may find less respects on people's life. Especially for the *elders*, who always have rights to criticize the *youngsters*. Traditional values always need to win, new values are always suppressed until it gets to the point to break through all the walls. However, lots of us prefer to be passive and live in our own shells.

Not surprisingly, internet thus becomes so popular in Asia. Even in country like China where Internet censorship and surveillance has tightly implemented, a large population of netizens are easily spotted out there. It's just because people need a way out! They need their own space and supporters. And, they need to speak out for themselves.

Although many lies exist in the viral reality, we probably still find truth and beauties there. And going beyond that, we find who we really are and whom we really need.

When well-intentioned parents coddle their children, the children may have difficulty fending for themselves after leaving the family rose garden. This film depicts the travails of a naive young woman who faces the world alone after her protective bubble bursts. Her story is structured in two parts. In the first the heroine Nanami seamlessly continues her comfortable middle class life after finishing college, but then loses her husband and her job. Uprooted and displaced, in the second part she broadens her social exposure, and for the first time experiences the intense union of passionate love, with a nonconformist woman of great personal integrity who is a law unto herself. Contrasts between part one and part two expose shortcomings of typical middle class child rearing and of passionless relationships, and reveal the potential for self-affirmation through our fundamental need to love.

Nanami speaks for many young adults who are ill-prepared to deal with reality. The film is psychologically insightful, emotionally eloquent, witty, moving, and executed on a high technical level. Acting is wonderful, brava brava Haru Kuroki and Cocco. Renaissance man Shunji Iwai proves himself to be at the pinnacle of auteurs. The connection between the music and Nanami's emotional states is so intimate that the film could be viewed as an interpretation of the music. For example, in part one Mozart's delicate and other-worldly Concerto for Flute and Harp mirrors the blissful innocence of one who is naively out of it. Part two begins with Bach's Air on the G String, solemn, melancholy, like a funeral march infused with tenderness and sympathy. It captures her dire state of helpless bewilderment and our compassion for a despairing soul. This film is in that tradition of Japanese cinema where enlightenment on important humanist issues was accomplished through empathy. There is much to appreciate for viewers who are interested in the existential crisis that can occur during the transition from a conventional middle class upbringing, to a sustainable path toward self-fulfillment as an adult.

The visuals, cinematography, and acting were great. However, story was lackluster. The movie dares to have 4 stories drag in a 3 hour movie.

The main female protagonist starts off down on her luck with risk of unemployment. However she meets a man online, gets married, then (without spoiling the story) we never see him again in the film. The truth is never revealed why it concluded that way. This trend continues with the actress meeting people but we never find out who they really are and what their motives are. We spend 3 hours in a movie but we do not even know the characters or get character development. That's right, the main protagonist doesn't learn anything through her journey.

The music choice was beautiful, however it felt like a cop out since they used popular pre- composed music.

Before this, I had already seen four movies by Iwai Shunji, and had still not committed to his works. Knowing that it would run for three hours, I did not count on completing it. As expected, it is very slow, but somehow there is always a light tension.

The story begins when a timid female teacher called Nanami meets a man that she has been chatting with on a dating app. What follows is a lethargic but epic adventure where Nanami gets to experience every emotion in life.

What makes it gripping is not that the obstacles and dangers are big, but that the main character is weak. Even in situations where some people would just shrug their shoulders, there is a fear for Nanami's safety. Still, she is not completely helpless, and does what she can to navigate the strange situations. The point is that there is a perfect balance between the challenges and the power of the protagonist.

Those threats can be of various kinds; economical or existential as well as physical. Some nasty things may happen that may remind of movies by Sono Shion, but Iwai Shunji is as usual a more restrained writer. It does not go into horror territory, even though there is a faint trace of it. Rather, it has similarities with old gothic novels.

Another parallell with Sono Shion is the use of the same kind of classical music. Already in the first scene, the classical background music is louder than the dialogue, making it hard to hear what they say. At first glance, it seems like a mistake. But in a movie where every scene is carefully crafted, it is hard to believe that there would be a mistake in the very first scene. It is easier to believe in some symbolic meaning. Maybe to emphasize how quietly Nanami speaks, or that the dialogue is unimportant cold talk.

Notable is also the sets. While not expensive-looking, they are sometimes unbelieavably cluttered. A lot of effort must have gone into just collecting and arranging all the items.

Also look for the few times the camera paradigm changes.

Adding to the tension is that all characters except the main are so mysterious. Many of them at some point show a glimpse of something unexpected, making you think they have something else going on. It's a simple trick, but works very well. In many cases, they feel like real humans, who have their own life, independent of the main character.

While the plot is not completely unpredictable, it makes its own path. One hour in, I still had no idea where it would go or even what genre it is. Fundamentally, it is realistic, but often dreamlike. It is like a real life, but depicting a certain period of that life that is the most fantastic, when the protagonist explores very unfamiliar territory. The most similar sentiment might be found in Eyes Wide Shut by Stanley Kubrik.

Iwai Shunji based the film on one of his own novels, so you can be sure that it is completely his own vision. The most sad thing is that it so long that it is hard to find an opportunity to show it to others. It is the most alluring movie I've seen this year, where every scene is fascinating and infinitely rewatchable.

For me rating should be around 4-5/10. the disconnect of the 1st half with 2nd half i thought there's some clever hidden scheme of why he did it to the main protagonist but we dont have an answer for that so it just remain the answer given "the mother made it" and...i should probably stop here not even bother spoil it but my advise is you guys better spend 3hrs doing other things than watching this movie. i regret watching this movie so badly now