Netemo sametemo

Sleeping or Waking was an odd movie.

The story was good and the romance was really intense. I liked how they presented the relationship and its course. The two had great chemistry and that helped a lot with the progress of the drama. However, the ending twist was really not good. It felt out of the blue and kind of unexpected. Also, it annoyed me how the character did what she did and they didn't explained it properly.

So, six and a half out of ten for sleeping or waking, because of the wierd ending and the not so great twist about the character who went missing.

Interesting premise, but flat characters making infuriating decisions made this one tough to fully appreciate. It's a film that had its moments in the interplay between the friends, but felt too simplistic at the core of its love triangle, and dragged on too long. I liked the idea of exploring the compromises usually necessary in a stable relationship vs. The wild ride our hearts might lead us on, but this didn't feel much like an exploration, perhaps because the central character (Erika Karata) is so weakly drawn.

Maybe if you've been left in the past by a partner you truly loved, someone who if they showed up out of the blue might cause you to throw everything that's good in your life away, it may resonate more for you, but for me I couldn't buy it. Solid performance from Masahiro Higashide in the dual role, and I liked the character of Maya (Rio Yamashita) here - if only her fate had been a little more intertwined with that of Ryohei's.

The story certaintly has an interesting premise in concept, but the execution is shallow. Theres nothing to this movie, read the description and you've pretty much got the movie, her first boyfriend disappears, she gets together with "Asako" 2-----thats it. Actually watching the movie will not take you much further than that. Its also painfully cringe with the dumb/childish women trope.

Nothing is ever explained, people in the movie just act weird for no reason, leading to "dramatic" moments.

'Undine' 2020 has similarities with the 1 girl/ 2 guys and is better than this, if you're going to give something a go, watch that instead.

Asako falls in love with Baku, and they live an intense love, until he disappears without a trace. Years later, Asako meets Ryohei, who looks exactly like Baku. I usually like this kind of tragic romance, however, Asako I & II is not consistent enough to leave a mark. The main character, Asako, is very superficial throughout the film, with attitudes that disconnect her from real life events, making hard to the viewer to bond with her. If the goal was to address the moving on issue in relations, and seeing true love through different perspectives, it fails completely. The best that comes out of the film is Masahiro Higashide, who plays both roles (Baku and Ryohei) very competently.

Part of my accidental trilogy of "love" films in Oct 2022, this film shares some aspects with "Marriage is a Crazy Thing." That aspect of a "grass is greener" approach to romance; the power of the flirt/affair/infatuation vs a day-to-day reliable relationship.

Recently I've also been making my way through director Hamaguchi-san's catalog. I enjoy his lingering on scenes, one man battling against the ADD urging of our consumer society. He often leaves the camera fixed absent of characters, inviting introspection. He also likes the ironic juxtaposition of a character in some mode of transportation, but not really moving personally.

Anyways, I did not find this movie slow at all and disagree with those who did.

Perhaps an ongoing observation from Hamaguchi, or maybe on Japan, is the role of the small community in individual lives. I'm thinking in particular of the friends of Asako and Ryohei, and how their relationship is woven into and seen through that larger circle. Some deeply personal moments happen in public settings, contrast this with the Korean covert relationship in "Marriage is a Crazy Thing" or the USA "Meet Cute" where the community surrounding our eternal lovers is comprised almost entirely of service workers: bartender, nail salon worker and a maitre d.

In the US, others are inherently extras? Hmmmm....

Anyways, if Asako is Cinderella here, it is almost surprising that she has to choose between comfy sneakers and stylish but not so functional glass slippers. There is a sort of urban fairy tale concocted via a doppelganger (meanwhile Hamaguchi saves on acting costs with a 2-for-1 deal on leading men;>).

Ultimately the film is a gentle study in trying to grow up, but especially when balanced against that power of the first love/flirtation/etc. I know the title of the film alludes to the two faces of Asako, but the title of my review refers to what happens to Ryohei after the credits roll. I find that interesting to think about and appreciate those who forgive even if forgetting is not an option.

Another askew interpretation (my favorite kind!) for the film might be the importance of raising a kitten. I was curious to look up the name of their pet cat and found

"The name Jintan combines the Confucian term jin ( humaneness, benevolence), with the Daoist term tan (cinnabar, pills containing cinnabar, pills (the Elixir of life)) evoking the notion of longevity and health."