Fuchi ni tatsu

A very interesting original screenplay written by a director.

A new perspective of crime and punishment. A grey perspective. Definitely one of the most interesting films I have watched in 2017 though the direction is not outstanding. Deserving of the Jury Prize in the Un Certain Regard section at Cannes.

Good performances and symbolism (Lady-Macbeth-like washing of hands, white bedsheets and ghost images).

Wow, major downer!

This is not really a film to sit down and watch if you have other important things to do or want to have a good time; the pacing is typical Japanese/foreign slow-paced style where they have scenes of just showing a family eating dinner/playing the harmonium, etc.

However, if you are able to tolerate that kind of pacing, especially the first half, you are in for a major emotional downer. The movie really takes a sudden turn that it feels like a completely different movie.

If you invested in the first half, you will definitely want to know what's going to happen.

Unfortunately, it's one of those abrupt, somewhat unsatisfying endings that make you shout "OH, COME ON!!!!!" where it leaves you hanging way too much, almost a cop-out, and really makes you wanting and needing more; you start drawing all kinds of conclusions and interpretations because it leaves you with many unsolved questions that will bug the hell out of you just like the characters are feeling. It will probably leave you with a lot of frustrations, shock, or depression. The movie almost feels unfinished.

There is some religious theme and imagery going on with this film.

Although we've already seen "the creepy/odd/mysterious neighbor/stranger/former buddy" entering another sweet family type of movie plot many times before - and we all know how that usually ends up - this film adds some unique elements to it that feels more raw and full of sympathy. It really makes you think about the consequences and emotional realism outcome that each and every character must feel.

The acting is great by all the cast. You just feel so bad and shocked like what the hell are you doing?!?!!

Again, this is definitely NOT an uplifting film. It's a pretty heavy movie that will certainly make you shake your head.

I expected this to be better. With an almost 7/10 IMDB rating and 84/100 Metascore, i had high expectations. But i was mildly disappointed. It's by no means a bad movie, actors did a very good job, story was interesting, there were some exciting twists and i was very curious to see where it goes. It started slow but as it was progressing, pace got better and there was not a boring minute during the second part.

However, i needed more explanations. I appreciate Japanese subtlety/terseness, it's not like i want for the movies to spoonfed me, but the ending was too abrupt and unsatisfying. I won't say much in order to avoid spoilers but i didn't watch a 2 hours heavy drama for an ending like this. As another reviewer said, this movie almost feels unfinished.

And i didn't get convinced about the motives of one character. The whole movie is based upon unstable foundation. This character could do a lot of things in order to satisfy their unresolved issues. This specific action makes no sense.

So, i don't recommend it but i can say it's a good movie which many cinephiles will like it, even love it.

This is definitely a movie where you are better off not knowing much ahead of time. I recommend caution in reading reviews of this one.

The focus here is on a family: young daughter, overprotective mom, distant disengaged husband. The husband takes in a mysterious lodger without consulting his wife. That's really all you should know in advance.

If you particularly appreciate a movie that goes in unexpected directions, this film is for you. If you are interested in how relationships change under stress, this film is recommended. It is perhaps a bit long and occasionally a bit repetitive, but it is definitely worth seeing. You'll think about it a lot afterwards.

The principal flaw of Harmonium directed by Kôji Fukada may be its length. At more than two hours the film is by 20 to 30 minutes longer than the standard, and the extra time is not necessarily best used. Yet, this stylish combination between family drama, thriller and crime story has enough interesting elements in the story, and is so well acted and filmed that it eventually justifies itself and needs not make too many excuses.

We can admire from opening scenes the mastering of the art of describing the characters and the background with very little means, in a few beautifully filmed takes, with even fewer words. We see a family in Tokyo working hard for their living. The father has a metal shop and seems to be an agnostic. The mother is deeply religious and she drives the education of their daughter around ten years old, who tries to learn playing the harmonium. A stranger shows up, he is well mannered, accepted by the father and then by the rest of the family. There are secrets in the relation between the two men, and these secrets of the past will take over the situations that follow.

There are two different parts in the story separated by a jump in time which is one of the several techniques of story telling that are being experimented and combined in a well dosed mix. The story telling is built in a very interesting manner. Two acts of violence happen out of the screen, and viewers as well as most of the characters do not know exactly what happened. The first took place eleven year before the story starts. The second wraps up the first part and triggers the events of the second part, with another gap of eight years. None of them is represented on the screen, the story is not about violence but about its consequences. The final is also open ended, we see what happens, but the interpretation is left to the viewers.

I liked more the first part, with its more constraint setting and only with the four characters present on the screen. The development is necessary in the logic of commercial film making nowadays, the jumps and gaps are intentional, but they lack balance. There is wonderful acting from Mariko Tsutsui in the role of the dedicated mother but also of the feminine presence that triggers passion, and from Tadanobu Asano as the dignified and yet mysterious stranger. This film is not flawless, it lasts too long and its changes of direction may not be on everybody's taste, but it's a good example about how the Japanese school of cinema continues its great aesthetic tradition, how it combines it with the popular culture genres (like thriller and horror stories) and how it looks carefully to new means of expression in an evolutionary rather than revolutionary approach.