Shinboru

I saw this movie at the Brussels Fantastic Film Festival, and I loved it!

In retrospect, I could have ended up hating it just as well!

Shinboru is a very odd situational comedy. It's silly yet artsy, thoughtful in parts, anarchic in its delivery and overall nuts. To this day, I have no idea what it was about, its meaning, what it's meant to *symbolize*.

I enjoyed it immensely, though, and found it especially hilarious with the geeky festival crowd commenting irreverently at the screen. It might not be as fun if you're watching it alone in your living room.

There's no mention on who the director/ lead actor Hitoshi Matsumoto is in the other reviews, which may help prospective viewers to decide if they want to see this unique film or not. Matsumoto is one half of the arguably most famous Japanese comedy duo 'Downtown'. Their style is called 'manzai', that is one guy says a lot of stupid stuff and the other butts in all the time to correct him; you may have seen this in the background of some films by Kitano, who started his career in 'manzai' as well.

If you know that type of comedy, the otherwise completely non-sequitur style of 'Symbol' won't necessarily come as such a surprise, because the whole idea of 'manzai' is to baffle the audience by pushing nonsense as far as it can go. Since Matsumoto's part is the 'boke' AKA nitwit, it's pretty much in his line to come up with the most far-fetched, senseless and weirdest story angles imaginable - after all he's been doing this on TV since 1983! The ridiculous wig he's wearing in the film is actually part of his TV antics - I remember him wobbling around with it whenever he got an idea, pretty much like what he's doing here.

What surprised me though is that 'Symbol' has excellent production values, unlike his debut 'Big Man Japan' which suffered from very bad CGI (which may have been on purpose though). Here the visuals look so well done that I can't help but wonder about the budget. Another surprise unmentioned in the other reviews: there's an appearance by 'Kiss'! Other than that, I can only confirm what everyone else said: you may love it, you may hate it, that depends on how much you can forget about any expectations you have.

I was fortunate enough to catch this movie at a screening during the Copenhagen film-festival last month, and when I went to see it, I didn't really know what to expect, so imagine my surprise and joy, when I found out that the plot went something like this...

First, we begin with a scene in Mexico, where we see a small family eating breakfast.. nothing extraordinary in that, except that the father is wearing a full-face wrestling-mask, like the famous Mexican wrestler Santos (or for the mainstream-audience, like The Gimp from "Pulp Fiction"), and is suddenly picked up by a foul-mouthed woman dressed as a nun, who drives him to town, where the night's big fight is going to take place.

Then, cut to a Japanese man, waking up in a completely empty white room, not knowing how or why he got there, he screams to get some help and attention. But all he sees is something that looks like a button in the wall.. when he presses it, hundreds of naked angel-boys appear before him, only to disappear back into the wall..except their penises! He then proceeds to press the penises, and finds out that something mysterious happens every time he does so! Holes open in the walls, and random things are thrown into the room, be it furniture, gadgets, food, or even living things! All that happens inside the room is apparently a personal voyage for the man, but it also effects other people's lives at the same time, most notably the Mexican wrestler and his family, which we discover near the end of the film. But it really is something that should be watched to be completely understood - and even then, it's not even certain that you'll be able to understand what happened - or why.

Highly recommended film. Very unique and entertaining throughout, even though the last fifteen minutes get really bizarre and too artsy for my taste. This movie is not to be missed. You will probably never see anything quite as weird and funny like this. 8/10

It's very difficult to review this movie. I don't know if it's dumb or brilliant. It's definitely hilarious, ridiculous, entertaining and above all, unique and original. As i was watching the first hour, i decided to not recommend it even though it was kinda interesting. However, the last 15-20 minutes were almost breathtaking. I think that the ending is beautiful. I guess that there are deep messages here, but i can't decipher them. That's the reason i don't rate it higher, because there is a strong possibility that the director is just messing around and there is no hidden wisdom here. In any case, this was fun and enjoyable. There are some boring scenes but overall, i liked it. Watch it if you like weird comedy/drama/fantasy movies and make your own judgement.

How can I explain such a simple yet complex film such as Symbol? It's not easy, but I'll give it a try.

Symbol see-saws between two stories and is shown in three chapters which are labeled Education, Implementation and Future. There's the story of an out-of-shape Mexican wrestler known as "Escargot Man" as he prepares for a title fight in some tiny dusty little village. And simultaneously, there's the story being told of a Japanese man who awakes to find himself in a large, all white rectangular room with no doors or windows.

Just how are these two stories connected? The answer is an existential journey into the energizing and inventive script of Matsumoto. For those who have seen his first feature Big Man Japan, in where a solitary middle-aged man periodically transforms into a giant to defend Japan from an array of monsters, you might have a little clue as to what you're getting into with Symbol. Let me assure you right now that Symbol is definitely its own monster, and perhaps one that will make both fans and newcomers to Matsumoto's work say WTF.

Perhaps the best film I could compare Symbol to would be Stanley Kubrick's sci-fi masterpiece, 2001: A Space Odyssey. Yes, it's a bold comparison, but an apt one as well. Just substitute Kubrick's towering monolith and epic wormhole sequence for Hitoshi Matsumoto's room full of baby penises and a penis wall climbing ascent into the future and you're basically looking at the same film.