Shiki-Jitsu

This felt a good 20 to 30 minutes too long for me, which holds it back from greatness in my eyes. That being said, I still liked a good amount of this film, and there were moments throughout that were very effective and powerful.

It's clear to see it as a personal film for Hideaki Anno, and it's different to anything else I've seen from him. I think with this, he proves he can do grounded drama without the sort of sci-fi elements found in his best known movies/shows... but I just wish this had been assembled and edited to be a bit tighter, because to me, it didn't feel like it needed to be more than two hours.

If you're interested in this film, it's probably because you're a Hideaki Anno fan. This is probably his most obscure film: it only ran in a museum of photography and a few other small outlets in Japan, and in some scattered film festivals worldwide. And for good reason: this is also certainly his most self-indulgent piece so far. You wanted Anno-style work, well Shikijitsu will give it to you, but in all the bad ways as well as the good.

First, the good: the sets and cinematography are stunning. For the shooting, an entire unused building was rented out and filled with strange, colorful objects. The shapes and contrasts are beautiful: a water-filled basement inundated by blue light, a white table with four bright red phones.

There are some brilliantly original set tricks: for example, the windows on the different sides of the building are of different-colored tinted glass, so that when lightning strikes, it appears as sometimes red, sometimes blue or green. The camera work feels distinctly anime-style.

But beyond this, I felt the film didn't have much to offer. Remember the psychedelic and baffling last two episodes of Anno's Evangelion? Take those and lengthen them to 2 hours, and remove the previously established context and character development that gave them some amount of meaning. The film's entire dialogue is an abstract, mostly incomprehensible mishmash of pseudo-philosophizing about love, loneliness, the boundary between fantasy and reality, family feuds and a bunch of other random themes Anno likes to wax poetic about. It keeps flipping from one theme to another, making meaningless over-generalizations about life ("The world is filled with cruelty and malice", etc), never cohering into any kind of sensible system that I was able to understand. All this, frankly, was boring. By the end I was squirming in my seat for the thing to end.

Shikijitsu is packed with symbols that don't symbolize anything. One line that sticks particularly in my mind in this respect is a comment about train tracks: they go on forever without ever once touching, and yet they are part of a single unit. A touching, beautiful metaphor, surely --- but for what? It is never made clear what this is meant to represent. A metaphor with no referent is empty and weak, no matter how beautiful it sounds.

Shikijitsu gives the appearance of depth, but doesn't really have it. Or if it does, it was impossible to discern in the general confusion (at least for me). What's left is a beautiful, superficial film, full of angst and color.

Recommended for photography lovers or die-hard Anno fans.

This movie is closer to a character study that to a conventional story. The minimal plot we have is about a struggling director who returns to his hometown and meets a young a girl who lives in her own fantasy world and follows strict rituals seemingly just to get by every day. Their unconventional love runs its course over 30 days and sees the girl confront her deamons and the director get more involved than he wanted.

The girl is so desperately runs from her past that we would believe something extraordinary and horrible happened to her but as we find out what happened was horrible yes but all too ordinary. The main similarity between this movie and Hideaki Anno's other more famous work Neon Genesis Evangelion is that personal trauma is given subjective significance, it is shown as dramatically as it is felt. We we think of family trauma most of the time we think of the death of a loved one or serious physical/sexual abuse but as it is shown it this film verbal abuse and neglect alone can have absolutly devastating effects on a person. Despite what she tells herself the girl's family is alive she probably hasn't been touched in any way but throughtout her formative years she was insulted, blamed and compared, hasn't been given the respect or even validation as a person she deserves, which collectively let to her current state.

Anno's roots in animation are felt as the movie is beautifully shot, I especially like the contrast between the lush imagery of the girls place and the bleakness of the industrial town representing her fantasy and the outside world respectively.

Ayako Fujitani portrays madness very believably, while Shunji Iwai is subtle and precise. My only grievances are that it may be needlessly complicated and long.

Another example of a film I should have watched when it came out...at least for me it would have been a quintessential teenage movie that would have changed my life, at least a bit.

Now, I see it how it is. A meandering and pandering movie about angst, depression, grief and that trendy thing in Japan, suicide - feelings I've also been through as a teenager. I cannot, however, deny the somewhat unique visual style and the powerful effect it has on the viewer. The visual style created by the camera of the very talented director Hideaki Anno - who previously directed Evangelion (similar themes in both), the set design and filming locations. From a visual standpoint, it's great, it's a must-see.

From the story's point of view, it depends on everyone. On a teenager or early 20-year-old, the story would have a much greater effect than it has on me, and that's understandable. If I think for myself from a point of view of a teenager then yeah, it's moody, enigmatic, unpredictable, cool, random...everything I would have wanted to be. And all set in Japan. The ultimate cool.

But because it's not for everyone and because it's too up its own butt I cannot appreciate it more.

Ritual is without a doubt one of my favorite films of all time. Interestingly its from a from a very unexpected director.

I had seen Evangelion a few years back and thought it lacked maturity and was way too pretentious for its own good. I had heard some good things about Anno's live action work but didn't pursue it until some of my friends online came across this film and loved it.

This is the film where all the talent I thought Anno was capable of in Evangelion springs to life. This film has some of the most stunning photography I've seen, the performances are spot on, the writing is a tad on the pretentious side, but still feels very personal and is very much the voice of the director in his jaded post-anime days.

The film is subtle, beautiful and very creative. Its full of wonderful camera-work and cinematography that have a polish and subtlety lacking in his other work. If I had to complain about one thing I'd say that it drags a bit around the 1:45 mark.

One thing that surprised me about the acting is that Fujitani is actually Stephen Segal's daughter, showing that their is some acting talent in that family...

Its a real shame that Anno took a step backwards with his next film Cutey Honey (2004), because here is a film where one gets to see the beginnings of a brilliant auteur - I hope Anno directs something of this caliber again. (particularly if its animated, animation needs less trash and more art on the par with Isao Takahata's work) If you didn't care for Anno's anime work but thought he had talent I'd highly recommend checking this film out.