Yurîka

Hailed as a masterpiece by some, and a near one by others, I liked it quite a bit, and never felt bored in spite of it's nearly 4 hour running time. I was quite moved – to the point of tears - by the end.

It looks and feels like no other movie I've seen, shot in a shifting sepia tone, with very little dialogue, and long silent takes. It's an intimate epic. Sort of a Japanese version of a Terrence Malick film.

A young brother and sister, and a bus driver are the only survivors of a random bus-jacking by a madman. The three retreat from the world. But two years later the bus driver seeks out the brother and sister – living alone and mute despite their youth – and the long, slow process of healing begins.

As much as I liked a lot of it, certain plot twists felt clunky or heavy handed, as did some of the dialogue. A movie so based in unspoken emotion loses something when the themes suddenly become too literal, in word or action. But, those are things that might bother me less on a second viewing, when I was more prepared for this unique, odd, challenging film.

Probably the only thing that has happened to me which i cannot express in words. Maybe thats what the director 'Shiniji' felt and instead of trying to express is it in heavy-Hollywood-dialogs syndrome, he chose the absolutely pinnacle and quintessential form of communication- ...... If you are looking for the definition of that art, you wouldn't just find,because it doesn't exist. You have to see this movie to venture into the world which is way beyond cinema and story-telling.

Each character has just defied the very fabric of artificial situations that are cinematic and have stepped into the horizons of real world much real that what we see now. Shiniji's brilliance is not only in the way he picked up the situation and silhouetted it with ever so beautiful backdrop but also in that fact that he hasn't compromised on the lines of letting the movie talk with its aura of silence. Many great directors would have been tempted to use the brilliant characters of Naoki and Kozue to speak up their frustration(a usual ploy in American and European Cinema) to reassure their directorial capabilities, but Shiniji's belief in the movie and its characters was much more intense than both his audience and himself.

Now a little about the movie. Eureka centrally addresses the condensed emotions of people who go through a catastrophe which might not be fatal physically but is absolutely draining mentally. The eventual darkness of body and mind that leads such people to imagine heinous crimes like murder without knowing the true essence of its legitimacy. It deals with complete disintegration of human psyche to unwanted darkness. But it also shows the inevitability of human victory of life and happiness over death and darkness. Eureka tours the human road-map of complete disillusionment and back to reclaim its lost grounds.

Naoki and Kozue though being kids display a true situation that can drive even kids to craziness. Though not being dumb, words have not been their respite. The killing emptiness within woven with their apathetic vocals drilled them to their core and they became immune to popular practice of existence. Talking and involving with others were a waste, for nothing in the world could bring them what they lost. And if you ask what they lost, they cant describe it, I cant describe it, and neither can Shiniji. We can only feel it.

Makoto together with the kids was also a subject to the catastrophe. It hit him so hard mentally that he lost himself to isolation. But he regrouped and returned to his home just to find that things have changed around him, he could not justify but accepted it because he could find himself a reason to it. He visits the kids and they form a small family in which no one has to say that they care for each other, they just have to feel.

I can go on for this movie for the rest of my life but if you are alive you will see it.

I've seen EUREKA yesterday, and I really am impressed.

Along with those beautiful and sophisticated pictures in coloured black-and-white comes a great story; the movie takes both its time to roll out the plot and portrait the main characters. Each single scene is valuable, worth to be seen, contributes a lot to the whole, EUREKA is --despite its sheer enormity-- concentrated on the essentials and thus compact... and: the characters are authentic.

What else can I say? Go, see and feel it!

During its epic 3,5 hours of duration I managed to make some coffee, fry some eggs and let me assure you that I was a totally different man when it ended - It made me think about the real meaning of life, its beauty and subsequent horrors which we all go through at some point in our existence.

This is sophisticated film-making at its best.

Eureka tells an enormously soul searching and moving story about three people's attempt to find meaning and purpose after experiencing a grizzly "busjack" (i.e. a bus hijack). Thus, its "subject matter" and the problem with which it deals is as old as philosophy itself: finding meaning and hope in a world where such senseless acts of violence and evil occurs. The three characters are Kozue (girl) and Naoki (boy), who are middle school aged siblings, and Makoto, who is the driver of the hijacked bus. They are eventually joined by the children's college-aged uncle, Akihiko (who also provides some memorable comedic moments).

There's not too much dialog in Eureka, as Kozue and Naoki are mute throughout much of the film (as a result of their trauma), but we can sense the confusing and searing emotions that lie just beneath their silence. Director Shinji Aoyama (wisely) lets the story and the characters unfold / develop at a very deliberate and slow pace, eschewing quick cutting and montage in favor of carefully crafted compositions within the vast cinemascope frame. Due to its realistic style, at times Eureka feels like a documentary.

Having said this, however, I can also say confidently that many will be put off by Eureka simply due to its epic running time (= 3 hours 37 minutes minus the credits). But let me just remark personally that although it _is_ long, Eureka definitely _feels_ a lot shorter (after it's over) than most 2 hour Hollywood films. (In fact, I don't think that Eureka would have worked as a "2 hour film"--for roughly the same reason that a "Reader's Digest" version of War and Peace wouldn't be as powerful as the full-length novel.) Don't get me wrong: Eureka is demanding (this is a "thinking person's" film), but it is not overly daunting. This is a daring film that asks a lot of its viewers, but which delivers much by way of emotional payoff (to those who persevere).

Eureka eventually turns into a kind of existential road movie, as the four characters try to "start over" by taking a trip on Makoto's new bus. And although I won't give it away, Eureka has an ending that is truly beautiful, quietly moving, and charged with a glimmer of hope.

Finally, although it is rarely heard in the film, the original musical score by Aoyama and Isao Yamada really adds emotional resonance whenever it plays. It's unforgettable and simultaneously beautiful and elegiac. Overall, I consider Eureka to be a great example of "humanistic" filmmaking in the tradition of Kurosawa and Ozu. Only time will tell whether or not it will be considered a masterpiece, but in my book Shinji Aoyama has created one of the truly unforgettable films of 2001.