Ritual

This felt a good 20 to 30 minutes too long for me, which holds it back from greatness in my eyes. That being said, I still liked a good amount of this film, and there were moments throughout that were very effective and powerful.

It's clear to see it as a personal film for Hideaki Anno, and it's different to anything else I've seen from him. I think with this, he proves he can do grounded drama without the sort of sci-fi elements found in his best known movies/shows... but I just wish this had been assembled and edited to be a bit tighter, because to me, it didn't feel like it needed to be more than two hours.

I'd been waiting to see this film for nearly three years and finally I had the chance to see it. Luckily, I was not disappointed. This is truly one of the most profound films I've ever had the pleasure to watch. The plot, which I refuse to spoil, delves deeply into the human psyche and it's fragility. It's impossible to not be changed or indeliably marked after watching this true work of cinematic art. Anno's deeply psychological 'Evangelion' runs parallel to this work. Anno is intrigued and infatuated with the fragility of the human mind and the power of belonging and love. 'Ritual' shows the frailness of the human mind and how easy it is to be detached from reality. This is truly a must see film, for lovers of true cinema and lovers of life. Don't let the first 20 minutes deter you from committing to watching the movie, take it all in and the motif will begin to seep into your soul.

As far as the cinematography goes, one can't help but notice Anno's attention to detail in his construction of the motif of entrapment. Pay close attention to the use of frames and barriers; frames within frames, tunnels, mazes, labyrinths, spiral staircases all ripe for deep analysis.

This film truly renders what it is to be human. Beautiful and Essential.

Ayako Fujitani is gorgeous and amazing in this film, it's hard to believe that her only other significant credits are three giant monster Gamera movies! (Which I would now like to see!)

Anno, for those who know his anime, is well-suited for film. The type of fun visual metaphors that filled "KareKano" from wall to wall are here, too, but used a bit more sparingly.

The plot concerns a burnt-out animator/filmmaker who, running away from his career, returns to the industrial town where he was born. There he encounters a waif, a half-crazy, suicidal, obsessive-compulsive girl who nevertheless has an incredible charm about her. By just listening to her (and eventually filming her), he becomes a part of her life.

As the two grow ever closer, of course disaster looms. Will he need to retreat from this crazy girl? Will his retreat destroy her fragile heart?

The end of the film is a bit disappointing. Anno offers some explanations of why she is like she is, but there really is no revelation. Without revelation, it would be better if left mysterious. This may be the novelist's fault but, given his history, Anno does seem to have problems with endings.

The cinematography is quite beautiful, even the polluted landscape of an industry town is gorgeous here.

Another viewer complained about metaphors, wondering specifically about the girl liking railroad tracks because they are always together but never meet. Well, the girl begs the guy to always be with her, and she also says that she does not like sex. Simple if you use your brain, but you do have to have one.

Any metaphors or philosophizing in this movie are just as simple. Nothing high-faluting or divorced from real experience.

If you liked Evangelion and think you will like this, please remember that there are no giant robots in this movie. If that's cool with you, you will probably have a good time. Thank you.

addendum: a year after writing the above, I learned that Fujitani is the daughter of action star Steven Seagal, and (between Gamera films) appeared in his 1998 movie The Patriot. Her novella "Shiki-Jitsu," which Anno adapted to the screen was inspired by the difficulties she experienced during the time she spent in Los Angeles. Now I'm even more in awe!

When I say this movie is for "fans of poetry", I mean simply that it is for people who enjoy delving into the subtlety and brevity of thoughts, for people who enjoy symbolism and are unafraid to dive into a challenging puzzle of seemingly disjoint ideas, for people who can appreciate the fantasy in--as Anno puts it--"the ennui of everyday life".

And if you were bored by the first sentence of my review, then you're probably not the person I'm describing. If you haven't guessed, I'm trying to scare off most of the crowd. ;)

Yes, people who rely heavily on plot shouldn't bother. But I'm not saying that this film lacks in plot. On the contrary, it has one of the most complicated plots if you manage to piece it together. This is not a movie to be taken lightly, and its beauty & meaning runs not on the surface but somewhere deep beneath--as in the movie where her innermost thoughts are stashed away in the "secret basement" of a 7-story building.

I would compare this movie to Fellini, Godard and Tarkovsky--except that I generally don't like any of those directors at all. In this case, however, Hideaki Anno is able to take all the brilliant elements of those classic directors and fuse it with vivid colours, imagery, a spectacular dialogue, and phenomenal acting, which is something those European directors may have overlooked in their unidirectional approach to "New Wave" cinema back in the 60s-70s. This is a film unlike any I have ever seen, because it challenges the mind while keeping the senses alive. It can be taken either philosophically or simply as a feast for the eyes, whichever you like.

The dialogue, which I've already mentioned, bears further mentioning. Unfortunately I had to rely on the English subtitles, but even that was a work of literature. It's as if the philosophical works of Confucious, Descartes and Kant had been given a real-world, human voice. Heady stuff. And the script is expertly delivered by Ayako Fujitani in a performance that ranks up there with the best portraits of creeping madness I've ever seen.

On a final note, I just want to touch on the ending--don't worry I won't ruin a thing. I've read some criticism; apparently people have been disappointed. I admit that I, too, had been expecting something different. But now, having watched the film several times over (a requirement!), I see that the ending couldn't have been more perfect. I can't find a single flaw in this movie. 10/10.

I must say, I was really not expecting this film... I gave this film a view without any idea of the plot or basic info to back it up and I finished the film with an uncomfortable feeling. From a personal perspective I can assure you this isn't simply the story of a "crazy" girl and a washed out filmmaker...this is the story of a profoundly sorrowed girl and exploring how she deals with this sorrow in her day to day life. The reason she may not have jumped that ledge on the roof may very well be due to those lies she kept telling herself and her whole "ritual", she only needed someone to appreciate her and stay with her and teach her life isn't as painful as she was brought up thinking it was.

I can't believe how well fujitani played this role...As someone else mentioned, why hasn't she done more film? She was even TOO convincing in her role...I could have filled a litre of water with my tears.

The uber-emotional plot and performances aside, the visuals were equally wonderful, especially her "secret" basement filled with red umbrellas, water, and her bathtub. I haven't seen such unique and beautiful set designs for a while.

I'll wrap this up...AMAZING movie 10/10 getting a DVD copy soon, i HAVE to. You definitely HAVE to watch this movie.