Tão Distante

This film explores the developing relationships between five individuals in their late twenties. The group is linked by being related to people who were part of a tragic suicide/terrorist cult in Japan.

I am a big fan of realism in cinema, and this one didn't disappoint. Most of the film is set deep in the forest. It follows the group as they pay their yearly respects to those lost in the suicide. After finding themselves stuck in the woods, they are forced to take refuge in a nearby hut which was previously inhabited by the cult members.

Much of the movie contains stunted and realistic dialog between the group, talking about the cult and touching on philosophy. Their is so much authenticity in the way they act that you feel as though you are part of the group, listening to the conversations.

There is some plot although I was a bit lost until I read other IMDb comments afterwards. I also felt it ran a bit long towards the end (around 150 minutes). But there are three elements in this film that made it enjoyable for me: it was focused on a small group of individuals, it was realistic, and it had great acting.

Three years ago, a cult sabotaged the Tokyo water supply, poisoning thousands, before committing suicide en masse. On the anniversary of the attack, four family members of the cultists meet to remember their loved ones. Travelling to a secluded lake where their relatives' ashes were scattered, the four encounter a surviving member of the cult. Finding themselves stranded for the night, they take refuge in the cabin that was once the cult HQ, where their conversations reveal more than anyone expected.

Written and directed by Hirokazu Koreeda, 'Distance' is an intriguing, quietly moving film that speaks volumes about the human condition. Koreeda's characters are fully believable creations and their dialogue- quite a bit of which was improvised- is consistently fresh and authentic. Watching these people interact and learn more about one another is endlessly interesting, and their individual stories of grief are heart-rending. A profound, unaffected drama, 'Distance' is the very best of humanist cinema.

It is also a most suspenseful watch, due to the ambiguity surrounding the surviving cult member. We aren't sure of the character's agenda, nor of his past, and this creates much dramatic tension. Many are quick to criticize the ending, which raises more questions than it answers; though it's abstruseness arguably bolsters 'Distance's overall narrative impact. It is a film that keeps viewers thinking, and will no doubt linger in the mind long after the credits have rolled.

'Distance' reunited Koreeda with cinematographer Yutaka Yamazaki, whose raw camera-work keeps proceedings feeling off-the-cuff, or documental in nature. Whereas Yamazaki instilled their previous collaboration 'After Life' with a dreamy atmosphere, here he keeps things grounded; in keeping with the tone of realism running throughout the tale. Additionally, Keiko Mitsumatsu's production design- as well as Toshihiro Isomi's art direction- is understated and gritty, heightening the authenticity of the locales and the film in general.

'Distance' boasts a fine cast of talented actors performing at the top of their games. Arata Iura, Yusuke Iseya, Yui Natsukawa and Susumu Terajima star as the family members of the cultists, each delivering a masterclass in subtlety. They are all convincing, bringing an emotional weight and intelligence to their roles that doesn't go unnoticed. There isn't a poor performance in the film, and the cast all work wonderfully together. Terajima- who has appeared in six of Koreeda's projects to date- is particularly impressive, demonstrating the boundless depth, versatility and sensitivity that has endeared him to so many.

Tadanobu Asano also stars, doing a brilliant turn as the mysterious surviving cultist. A most versatile talent, Asano disappears into the role completely, intriguing throughout. You're never sure of his motivations, and his enigmatic performance will ensure your gaze is fixed his way anytime he's on screen.

A quietly powerful human-centered drama, Hirokazu Koreeda's 'Distance' is a tour-de-force in every regard. Subtly, smartly written, it contains no moments of sensationalism or spectacle, offering viewers a profound, poignant reflection of- and on- life. Featuring fine cinematography from Yutaka Yamazaki and assured production design from Keiko Mitsumatsu, 'Distance' is a visual treat as well as an intellectual one. Boasting fine performances from all in the cast, and featuring some brilliant improvisational dialogue; 'Distance' is one film you'd be hard pressed to forget.

Extremely shaky camera, hard to watch Excruciatingly slow. One sentence of dialogue every ten seconds.

After an hour I ended up switching to double playback speed and even then it felt slow so I bumped it up to 2.5 speed 20 minutes later. This movie was slow due to bad pacing as there was no atmosphere or visual storytelling to compliment it. And I say that as someone that watches a lot of slow paced atmospheric arthouse.

Production quality is that of a movie ten years prior. Wouldn't think this was made in the 21st century. Feels more like a student project.

It's also interesting to me that one of the lead actors in this is also from blind swordsman and, survive style 5+ and itchi the killer. All filmed in the same time period but leagues more interesting and higher quality.

Don't look here for answers to 9/11 or the Aum incident. Best tries for that would be read Haruki Murakami's "Underground" (Vintage International 2001) or see Shinji Aoyama's "Eureka." "Distance" has two significant sets. First is a dirt road through a skyless (camera doesn't look up) forest. A group connected in various ways with former Aum members, come to honor the tragedy but stranded by a car breakdown, take forever deciding whether to walk backward or forward. Suspense builds, a little like that around the host and guests unable to leave in Buñuel's "Exterminating Angel." The sole Aum vet among them (he got out before the serin) offers a third option, essentially go sideways (almost as if Buñuel's crowd had decided to walk out toward the camera or away from it through a wall), leading to the second significant set, a not quite barracks-like abandoned Aum building. Discussion there, centering on the building's dispersed inhabitants, reminds of the Aum member interviews in the second half of "Underground." The ending's ambiguous, so ambiguous that four months later, I can't remember it other than in images.

What I do recall is Director Kore-eda speaking after my screening. Though he'd been forthcoming throughout the rest of the Q and A, when two or three people challenged the ending he began excusing and apologizing, seeming to second-guess his edits. I'm not sure he should have apologized. Strictly in images, the film has a beginning, center, and end: the road in; the bright (even at night electrically and the bridge and lake that figure in one of the tales are more brightness) heart of darkness; the road out. Last thing I remember, though I'm not sure it was right at the end, is a bright, franchise-looking shop, one of the group running in to get something.

There's something special about humanist cinema, and without Hirokazu Koreeda it would be incomplete. Whether it be a dsyfunctional family (Shoplifters) or my personal favourite, choosing one special memory to have it replayed before your eyes (After Life), Koreeda taps into the soul of life.

Distance is no different. It is presented with lingering questions through the eyes of deceased cult member relatives - and like a jigsaw it trys to piece together the aftermath of the horrific tradegy. We get to know each different relationship that was affected by the cult; interesting as most stories focus more on the cult members and or cult leader themselves. In that regard it allows us to understand the cult structure more than simply seeing it as a brain washing machine.

With raw cinematography and the Koreeda special documentary style filmmaking, Distance shows us the truth that cult members saw, and the truth of their brothers, sisters, wifes and husbands. It is a film of contrast, but captures it perfectly.