Vital: Autópsia de um Amor

This film really gave me an impression and was for myself a very memorable experience.

Like many others i was also quite surprised about the emotional and gentle character of this film. Before starting to watch i prepared myself for something extreme and uncompromising like i experienced in many Shinya Tsukamoto's films. But that is a good thing for this film; making it possible to reach a broader audience. And it definitely deserves it.

Technically this film is superb. Lighting and camera were excellent .. and the colors ... Sound design and music weren't that demonstrative but still played, in a subtle way, an important role. Acting was also impressive. Tadanobu Asano, one of my favorite actor since Ichi the killer, was a perfect fit. Nami Tsukamoto was very scary, in a good way ;). But she doesn't have a record at IMDb yet. I wonder why .. her acting was very promising. And letting Kiki perform modern dance was for the atmosphere and art-style a very good idea.

To sum the story up, by leaving all the artful details behind, you could say it is about the painful yearning for the loved one. This was extremely good implemented. Just everything, art, sound and acting supported the presentation of this yearning.

This is one of those films you don't simply watch. You have to experience them.

It seems the majority of people who see Shinya Tsukamoto films are people who are fans of his to begin with. I am definitely a fan and have seen almost all his films - "Bullet Ballet", "A Snake of June", "Tokyo Fist", "Tetsuo 1&2". Tsukamoto is one of my favorite directors. In my opinion, he towers above most other film makers. His style is totally unconventional and he tends to make movies that can't easily be categorized, so fan-boy types tend to ignore him as overly "artsy", while lovers of more lush, slow-moving Japanese films tend to see him as overly frenetic and violent. Plot and linear narrative is typically incidental in favor of emotional catharsis (his films rarely wrap themselves up neatly, if at all - which can infuriate people). He tends to find a subject and fetishize it (guns in "Bullet Ballet", voyerism in "A Snake of June", metal and machinery in "Tetsuo", physical strength in "Tokyo Fist") rather than follow a standard "he did this, she did that" plot thread.

I would call "Vital" his warmest film to date. This is clearly a more toned down and relaxed Tsukamoto. Perhaps a sign of the director's move toward middle-age. There is very little of the manic hand-held camera work and thundering music from his earlier films. It's mostly static, beautifully framed images of non-moving people. Almost like paintings. Gone also is the furious video scramble editing technique that was taken to such wild extremes in "Bullet Ballet" and "Tetsuo".

The plot involves a young man recovering from amnesia after a car accident, who enters med school only to find the first cadaver he dissects is his old girlfriend (who died in the car crash). The memories start coming back to him, but the young med student (having no memory or reference point for the memories) instead begins to treat them as daydreams, and possible realities.

It sounds creepier than it actually is. The film is basically a love story, and quite a wistful one at that.

Highly recommended.

Vital contains a single scene of such true, deep, tearjerking, aching love that despite all of its sleepy subtleties, it is truly great cinema. This scene makes you cry and relate to it, and only one who's ever been in deep, heavy, painful love with someone can watch it and understand what I mean. It's such stirring drama in one shot lasting about 5 minutes between two people, and you want that scene to last forever. I haven't felt any kind of emotion like that from a movie in God knows how long.

There isn't much else to say about this film. Somehow, Tsukamoto has made a film so powerful based on one scene that is more emotional and moving than any work I've seen in nearly a year from many much much less dry filmmakers.

as usual, tadanobu asano provides a subtly seizing performance as a medical student who returns to school from a car accident that killed his gf (an extremely attractive yet horrible dancer). the med student has lost some of his memory, but is searching for answers which arrives in the form of flashbacks. during an autopsy, he discovers that his cadaver is his former gf, and he mentally struggles to regain his composure during a surreal and trippy ride in his mind.

unlike some of the director's earlier works, this film does not spazz out with an inordinate amount of guitar fuzz and headache inducing images (but there are still some bizarre images of smokestacks integrated with migraine inducing punk rock for a few fleeting moments). instead, the film focus on the medical student's more subtle descent into confusion and then enlightenment as he struggles to regain his memory and make peace with himself.

in the midst of the med students flashbacks, another sexually bizarre med student (another extremely attractive woman) courts tadanobu.

if you're squeamish and wouldn't watch HBO's "autopsy" program, then i would not suggest this movie to you.

I think whoever listed this as a "thriller" was going by the plot description rather than the actual film, in which an amnesiac medical student spends several months dissecting his ex-girlfriend at the University. The student is taciturn, is followed around by another, infatuated medical student, and because to have memories of his ex. And that's pretty much the movie. It is deliberately paced and at times purposely opaque.

The director has at times a film students fondness for meaningless composition, notably in an early scene in which the students parents stand perfectly still and converse. This sort of statues-holding-deadpan-conversations work well in Hal Hartley movies, but they feel a bit pretentious without Hartley's humor. The opening jittery camera-work also seems like something a film student would do. This sort of thing put me off, but the movie did generally keep my interest, becoming slightly more involving and less pretentious as it progressed, and in the end I feel okay about sitting through it, although I can't say I'd give it a strong recommendation.