En boucle

More than a movie.. this is feels like an interesting short/project (one seemingly funded via MotionGallery).

You can see the amateurish cinematography, where you are reminded that there's someone behind a camera running around. The acting is good (for the most part), the characters energetic, the location makes the film, and the developments entertaining enough to retain one's attention. The OST is memorable and the ending a bit out there.. which makes it all a very particular and memorable experience!! Eloquent human-self centrism appreciated.

I've seen enough things (even Japanese) not to be surprised or shocked by the developments. But it is quite fun and some might even find it very different! Reason enough for me to encourage anyone into giving it a try.

I was exceptionally pleased with Yamaguchi Junta's 2020 film 'Beyond the infinite two minutes': a charming, indie, low-budget sci-fi comedy that was well-rounded, clever, and funny, easily beating out countless major studio offerings in the process. It was also very smart in playing with time as a core plot device (e.g., travel through, communicate through, loop through, and so on), to an extent that either solicited hard scrutiny of its conceit and/or became delightfully complicated therein; either way, one was well served by not getting bogged down too much in those details. Fast forward a few years and Yamaguchi and screenwriter Ueda Makoto attempt an equally risky venture in 'River': a sequel. Facing the triple challenge of standing on its own merits, following its predecessor in a unique but meaningful way, and broadly quelling the doubts that commonly dog sequels, how is this 2023 feature? I came in with high expectations, and happily, they've not just been met, but exceeded - Yamaguchi and Ueda did it again, and this is a blast! In fact, I'm firmly of the opinion that this is even better!

This picture shares definite kinship with its forebear in various ways, not least in cheekily toying with a very small discrepancy in time, and being restricted to a single setting that is employed in an inventive fashion. The same cast returns to fill new roles alongside newcomers, and Yamaguchi again very much favors lengthy shots that follow individual actors throughout a space, giving cinematographer Kawagoe Kazunari and the crew a bit of a workout. The difference here is that as the nature of the scenario differs from the previous, it emphatically turns away from bearing the appearance of a single, continuous long take, and Yamaguchi gets to illustrate yet again that his skills as an editor are as tight, light, and nimble as his capabilities as a director. Likewise, Ueda once more gives us narrative and scene writing that joyfully overflow with both flavor and complexity, and we can either try to tease out the rules of the reality as it presents - impudently playing fast and loose with time - or just sit back, relax, and enjoy the ride. With the premise here being a time loop, Ueda effectively has a chance to slyly let similar scenes take different paths. And, yes, there's also a tiny but pivotal narrative idea linking the plots of the two titles within the same universe.

Wonderful themes reveal themselves of fearing the future, wanting to hold onto the present, and wishing for the happiness of past days; how we react in extraordinary circumstances that test us, and the extent or limits of bonds of community; strengthening bonds through adversity, and gaining personal insight; and finding the courage and will to move forward despite apprehensions. Yet these are all rolled very organically into the proceedings with marvelous ease and grace, and moreover, at the same time that 'River' evokes real feelings and stimulates our thoughts, it's also highly absorbing, immensely entertaining, and altogether hilarious. The screenplay is an absolute gem, earning many, many laughs - more than 'Beyond the infinite two minutes,' really - and even where the story unexpectedly broaches notably darker airs, these are subsequently twisted into morbid humor that only further heightens the heartfelt earnestness and warmth that ultimately defines the movie. The dialogue is stupendously bright, and the varied characters in and of themselves are a highlight as we get to know them throughout these eighty-six minutes. I'm inclined to believe this flick is even more well balanced than its elder, demonstrating further development in the skills of all, and particularly of Ueda: the writing is even more solid as every little thread is resolved, all tidbits brought back in substantive ways, and the premise executed with more polish and hardier constitution.

Far be it from me to focus so much only on the screenplay, though, because in every other capacity 'River' is terrifically well made. I repeat that Yamaguchi shows himself to be a very shrewd, adept director, and editor, and Kawagoe's cinematography is gratifyingly smooth, fluid, and dynamic - all of which I think is extra important here given the short bursts of time in the plot, and the way that scenes move about. Speaking of moving about, for as much as I appreciated the cast in 'Beyond the infinite two minutes,' now I downright love them. The characters are already so fun as they're written, and as the players inhabit these figures they bring fantastic energy and personality to each and every one. Given emphasis in the script on waitress Mikoto it's safe to say that Fujitani Riko stands out most, and has the most opportunity to exercise her craft, but truly every other cast member is just as superb, and all get their time to shine. The filming location Yamaguchi was able to secure for the production is absolutely gorgeous; like the café in the prior film, it's so cozy and inviting that I wish I could visit the inn myself. The production design, art direction, and costume design are modest, but utterly splendid; I adore the music as it adds to the humor and overall lighthearted vibe. Honestly, as far as I'm concerned this is pretty much perfect.

Again, I treasured 'Beyond the infinite two minutes,' and having seen it I anticipated much the same from another movie. After a few minutes of exposition this kicks up very quickly, and as it did I found myself laughing over and over. With equal parts frivolity and sincerity, and benefiting from the utmost care, intelligence, and hard work of all involved, 'River' is even better than I could have hoped. I have a hard time imagining that anyone could sit for this and not step away having had a great time. I don't know if Ueda and Yamaguchi have another flick up their sleeves (I certainly hope so) or if this is the terminus of this specific line of brilliant creativity, but one way or another this is an incredible highpoint that they and their collaborators should be proud of. For my part I outright cherish 'River,' and I'm all so glad to give it my very high, hearty, and enthusiastic recommendation!

No pun intended - the filmmaker himself made a video that we got to see before the movie (Weird Weekender Festival in Stuttgart). He admitted that he is good with .. time! And if you have seen Beyond infinite two minutes, you know he is not lying. The question is, if you want to watch a movie that is similar to that.

While this is good (added comedy I reckon) and still quite twisted in a sense, the former movie is a tiny bit better than this one. That said, you do get new and original ideas with this one. And maybe even an explanation why something happens ... to a specific group of people in a specific area ... we follow one character for most of the movie. That said, we do get to see a lot of people besides her.

There are some inconsistencies when it comes to logic (especially when we have a "hunt" going on), but with a movie and an idea like that it is better to suspend your disbelief.

This movie is so entertaining and it's mainly so thanks to the chemistry between the cast and crew which evidently suggests how fun (and hard) the preparation would've been. It's like a theatre group enchanting us with their presence and talent at so many places. I really wish that I get to witness these actors and filmmakers (of the theatre club Tollywood) in numerous other projects.

This movie, River, while in no way was better than Beyond the Infinite Two Minutes/Beyond the Infinite Two Minutes (2020), which introduced me to this awesome talent pool a few days ago (Nov 28th, 2023 to be precise), when I had lost hope that original, accurate, and entertaining movies could still exist.

However, this one was probably more charged emotionally, even though we only gets to see more of Mikoto and Tako, who makes it feel like a romantic comedy (but in a good way).

The plot device of time loop is okayish and isn't exactly explained as much as it could've been. Even the attempts to resolve the conflict were quite rushed, quick, and not at all came when stakes were high. At times, the repetition did seem a bit too much. Other characters could been shown more often than Mikoto's sole viewpoint everytime the loop reset. Would've loved more of that serial writer, publisher, and the duo who just ate rice and chatted (but even then they're funnier than probably everyone else).

It also had one of the best dates in movies and that brilliant reference to Audrey Hepburn-Gregory Peck classic, Vacances romaines (1953).

Overall. Better than most movies of present era. At least most original movies. Not among the best though, unfortunately.

7.3/10.

(Jan 22nd, 2024)

I'd give this a 7.5, but I'm rounding up for being short and to the point.

This is an extremely Japanese movie. The look, the feel, the Shintoism, the soundtrack, everybody working together to solve a problem, the efficient production, and even the sci-fi element felt straight out of some kind of anime. It explores the idea of people in a small area being stuck in a 2 minute time loop, and takes a very light hearted approach on the subject. Even the darker moments are done with a bit of a smile. I particularly enjoyed the development of the main characters facial expressions every time she reset.

A joy of an indie film, but be ready to pay attention because it's almost all dialogue.