Harmônio

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.

I don't write many reviews, but when I do, they're short and to the point.

I don't consider myself a "film aficionado", and I'm certainly not an expert. I'm merely going to give a review of a normal, working class guy with a slightly above-average IQ.

I've seen many Japanese and Korean films, and so I am used to the slow pace of the movie. For those who don't know, picture 60 seconds of watching a family eating a meal while not saying a word.

With that said, I feel that it was too similar to other movies of the genre, and to me it was predictable. I knew what was coming around the corner. While I wasn't really amazed that my predictions came true, I was amazed that my predictions came true within 30 seconds of my making them. Just ask my wife -- she can't stand watching movies with me.

While a typical American movie watcher who only watches junk that comes out of Hollywood (a movie based on video games, comic books, or a remake of something from 30 years ago) might have been shocked by some of the things that happen, I think someone who indulges in Asian films will also see what's coming, and where things are going.

While, as another reviewer mentioned, the ending leaves you scratching your head and screaming, I was a little lost about the ending. I won't go into details, but I'll just say that I didn't understand the turn of events, and wonder if it is even physically possible for the movie to have ended that way.

All in all, very good acting, and was pretty enjoyable, but if you're looking for a feel-good movie, don't watch this one.

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.

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).

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.