Japón

I love foreign movies. I love indie films. I love movies that are different from the typical Hollywood style.

But Japon was so B A D that it's not even worth my typing.

So I'll make it short: life is too short to waste on this piece of junk!!! Well, I'll have to make up to 10 lines to have my review posted. So here comes more warnings: Viewers be aware! Buyers be aware! For the ones who actually liked this "film",I know you all too well. You're the ones who'd try to make out what it means when looking at an abstract painting.

A sloooooow, boring film shot in extreme conditions and with one single lens. It is starred by an amateur cast that now and then looks at the camera and a soundman that really wanted to get attention. Calling it `Japan' in order to associate an idea of spirit and transcendence that the western lacks is very naïve too, and that statement is certainly not translated in cinematic images during the film. I don't care if this is the real Mexico or not, I'd only seen very low filmmaking approached from a very low place. For similar stuff, Tarkovsky created better fiction and Flaherty better documentaries. Firm candidate to be awarded in prestigious film Festivals

I watched this film after reading some interesting reviews about a promising art-house director, stunning landscapes and grit and reality, as harsh as it is seen through the ever widening lens.

Hmm.

All of the above is perfectly fitting. The camera work is sheer brilliance.

The audio on this film is what grabs you from the very start: The sound is used to full effect, from the bird calls in the trees; the nearby water; the drunken Mexican workers: especially watch out for the singing scene, all made so very powerful thorough the medium of sound. In lots of scenes, the audio is carrying the visuals and not the other way around.

I have to say the story is most unusual and as you may already have read, can be quite uncomfortable at times. At one point I actually thought 'I don't need to be watching something like this on my screen..why am I?', as it just got a bit weird for me. I stuck with it though and, there is a message in there. I won't spoil any of the movie for you by going much deeper into it but as one commenter already said, it is about Man and his loneliness. His desperation and also his bad decisions and inability to change: his world and himself.

I can see why there are so many negative remarks here for this.

At first, I came here with the intention of doing something similar but when I started writing about this movie I just watched, I find myself analysing it and it sinks in that there really is a work of art and it shouldn't be condemned, it should be talked about and watched by many!

There are, for sure, some bad areas where they might have done better to edit certain overly long scenes out or perhaps moved the story around a bit but, this movie isn't about the story, not really. It is about the characters, more than that: it is about Character itself. Even the characters are just a vehicle for the main theme.

I urge you to watch this with an open mind.

Japón is not a film about Japan. It is a Mexican film, but not a film about Mexico either. For me, it is something really grand: a film about cinema and why it still exists. The story is rather simple and not at all world-shattering: a man, determined to kill himself, walks into a canyon in order to commit suicide in peace and tranquility. He moves to an old woman's house and, impressed by her attitude to life and somehow inspired by what is going on in the beautiful Nature around him, falls in love with or, or at least unfolds the desire to sleep with her. Telling the rest wouldn't take long but still spoil a lot.

The important thing is not the story (including logical character development) but the way it is told. The movie has the air of grandezza sometimes, it is the opposite of naturalism, but thus it is much more like „reality` than a couple of Dogma-style films. When you are alone in nature, well, what else will you do but admire the wonderful landscape and small events happening therein for a couple of minutes, trying to absorb it as intensely as possible? As a result, there are quite lengthy moments in the film, which might repel some people but that's a pity because it means that they are unable to enjoy the immediate experience of beauty.

In a review I read the author charged Reygardas with being pretentious and cheap, and I guess he referred to the very last shot (which, by the way, could be the most astonishing technical achievement a cinematographer has ever performed!). I understand what he means, and in a way he is right but I find that what we see makes up for this oh so terrible lack of modesty. Seldom have I heard so little noise in a theatre after the last image of a film - it was completely silent (except for one person in the audience who couldn't help applauding). And this experience has confirmed me in two opinions: First, movies are not made for intellectual critics in the first place. And second, cinema will always have a reason to persist. Nothing like a television or DVD set can give you the same feeling as a movie like Japón on the big screen. Of course, there are a lot of films that need the big screen to be worth their money but, as opposed to them, Japón is something really, really great, touching our hearts AND senses AND also (it is not a silly movie!) brains.

One of my favorite movies of the last couple of years. I happened to see it in a movie theater in Argentina, so I have no idea whether it plays well on a smaller screen. That said, it's a haunting meditation on the transitory and ineffable nature of life, on the tiniest of joys that in the end are all we can rely on to make our existence meaningful. The cinematography is breathtaking and does justice to the desolate beauty of the canyons of northern Mexico. Don't expect a rollicking narrative. This movie invites you to enter a lingering dream.