Shigatsu monogatari

This movie felt like something unfinished. It surely deserved to be developed into something bigger. But what's there is fascinating, sweet, and somewhat unique. The way it portrays the first days of college for a girl who's alone in a big unknown city, with unfriendly and opportunist people, is just awesome. I really felt sorry for this cheerful, shy and friendly girl who couldn't manage to get a decent social relationship in this new environment. The lead actress was really good and always had that "sweet and awkward" aura that's just perfect for the character. Some great scenes in this movie, but who's familiar with the work of Shunji Iwai shouldn't be surprised about that: this guy can pull off memorable stuff.

High school graduate from Hokkaido infatuated by now-graduated senior applies and is accepted at the same university as the subject of her infatuation. Goes to school, tries to fit in, and works up the courage to talk to her crush for the first time.

The story has great promise, but at 67 minutes, nothing feels developed and many story lines just end abruptly. It feels more like a TV series pilot than a standalone movie.

The movie itself is fairly unremarkable. Many things are suggested but not said. Moves fairly slowly. Lots of sepia tones and misty whites. Ok if you're prepared to just relax and not expect too much in the way of story.

"Shigatsu monogatari" (aka April Story), is one of those rare films which concentrates deeply on the feelings and personality of a character. Takako Matsu displays brilliant acting as Uzuki Mireno, a university student who experiences life on her own. The film shows the ups and downs of Takako's life at university. Despite the fact that I am an action fan and that the movie has a "strange" ending, this film did not fail to please and entertain me. I highly recommend this film for people into quiet, beautiful and emotional films.

This small (67 minutes) romantic story breaks no new ground but it is like a piece of candy. Sweet and thoroughly enjoyable while it lasts. I would have liked to see more develop but I think Shunji told the tale he wanted to tell, the loneliness of a girl starting college and how she finds a bit of happiness. The sort of thing high school girls fall in love with.

I was very recently exposed to this filmmaker and utterly captivated by another one of his films, so that alone ensures I'll want to see everything by him at some stage. He seems like one to follow and devote serious time to: a vibrant new voice that embraces damaged worlds with the gentle ardor of Zen. He makes the films Mizoguchi ought to have made but for drowning still reflections in overbearing dramatics.

This is even more sparsely arranged than that other film. Once more the point is that it's seemingly about nothing, purely episodic life from a teenage girl's journey into young adulthood and love. Once more the point is that there is no solid core to explain from, only glimpses from a floating world. Nothingness permeates, but a sweet, Buddhist nothingness that is pregnant with life.

The world is still new that she enters, the mind is clear, fresh. There is a lot of idle perambulation but no vexation. Solitude that is sweet enjoyment of the present moment. Being that is still magnificent in its simplicity.

Against this backdrop the smallest gesture rings far and wide with meaning, say a smile beneath a red umbrella for the joy of being able to freely smile or the feeling of being wet but safe. It is the best cinematic Zen I know of.

Spontaneous joy without pleasure. A world that makes sense because the senses are open, receptive. Astute viewers will pick up a connection to old landscape compendiums from the Shogunate era, the title of this post is a reference to one; those were intended for tourists passing through Edo, but were the training ground for cinematic perspective, more deeply intended for the travelling eye.

On a technical level, I believe this was solely conceived as an exercise where the filmmaker got to work out a few shots and atmospheres he had in mind: spring rains, clear evenings, bird's eye views, calligraphic sweeps, many worlds fleeting from the windows of a speeding train. A lot of that paid off in Lily Chou-Chou, there in a longer form.

This is small but full and ripe, a rare thing. I'm even more eager to follow his work.