WOW!
Wow! A Bulgarian/Japanese co-production. Bulgarian and Japanese films score high for me from a psychological perspective, so this combination created high expectations and turns out to be one out of category.
There are times when I look for movies that turn my emotions upside down in a pleasant way and this one has totally overwhelmed me. Maybe I'm overenthusiastic and have to wait a little longer with this review, but then I will have sunk back into my rational analytical state.
Well, it's now a day later, emotions have calmed down, but I'm still impressed. But what have I seen, or better, what have I experienced. It will take some effort to this without giving away too much of the story, but I'll manage.
The focus of this movie is the collision between cultures, not only Bulgarian and Japanese culture, but also that of gypsies. The story is subtly and minimalistically portrayed and you could summarize it in one sentence: 'How do we deal with responsibility?' The answer to that question is beautifully featured here - image and music - from each of the three cultures point of view.
The gypsies exemplify emotions and associated rituals. Deep emotions, the strongest of which may be grieve or even revenge. The camera work is breathtaking. Especially in the close-ups of the faces, which force you, as it were, to read the unspoken thoughts. The faces of the gypsies, scarred by the hard life, make a deep impression. The slow close-ups, without spoken words, but with music that has been reduced to a heartbreaking sound, have more effect than a hundred words. I imagine that these are authentic gypsies supplemented with actors, who fitted in seamlessly.
Bulgarian culture, or is it more Western culture in general, is represented by Georgi (Ruscen Vidinliev). He returns (temporarily) to Bulgaria after a long stay in Canada, where he also met his Japanese wife Yuki (Kiki Sugino). He looks at the situation through a rational lens and he conflicts with his wife, who grew up with traditions and must remain faithful to them at all times, even if you have to sacrifice yourself for it.
Yuki, who is already struggling because she does not understand the Bulgarian language and is seen as a curiosity in the village, is thrown back into her essence as a result of the event. The scene in which she can do nothing but act according to Japanese tradition, reminds me of a Japanese masterpiece from 1983; The Ballad of Narayama.
I have been served at my beck and call, turned upside down emotions, even a day later. Wow!
There are times when I look for movies that turn my emotions upside down in a pleasant way and this one has totally overwhelmed me. Maybe I'm overenthusiastic and have to wait a little longer with this review, but then I will have sunk back into my rational analytical state.
Well, it's now a day later, emotions have calmed down, but I'm still impressed. But what have I seen, or better, what have I experienced. It will take some effort to this without giving away too much of the story, but I'll manage.
The focus of this movie is the collision between cultures, not only Bulgarian and Japanese culture, but also that of gypsies. The story is subtly and minimalistically portrayed and you could summarize it in one sentence: 'How do we deal with responsibility?' The answer to that question is beautifully featured here - image and music - from each of the three cultures point of view.
The gypsies exemplify emotions and associated rituals. Deep emotions, the strongest of which may be grieve or even revenge. The camera work is breathtaking. Especially in the close-ups of the faces, which force you, as it were, to read the unspoken thoughts. The faces of the gypsies, scarred by the hard life, make a deep impression. The slow close-ups, without spoken words, but with music that has been reduced to a heartbreaking sound, have more effect than a hundred words. I imagine that these are authentic gypsies supplemented with actors, who fitted in seamlessly.
Bulgarian culture, or is it more Western culture in general, is represented by Georgi (Ruscen Vidinliev). He returns (temporarily) to Bulgaria after a long stay in Canada, where he also met his Japanese wife Yuki (Kiki Sugino). He looks at the situation through a rational lens and he conflicts with his wife, who grew up with traditions and must remain faithful to them at all times, even if you have to sacrifice yourself for it.
Yuki, who is already struggling because she does not understand the Bulgarian language and is seen as a curiosity in the village, is thrown back into her essence as a result of the event. The scene in which she can do nothing but act according to Japanese tradition, reminds me of a Japanese masterpiece from 1983; The Ballad of Narayama.
I have been served at my beck and call, turned upside down emotions, even a day later. Wow!
- Opeiron
- 7 de out. de 2022