O Segredo das Águas

I am a big admirer of Japanese cinema, film makers like Kurusawa, Koreeda, Oshima Imamura and the list goes on. And also from time to time I enjoy slow cinema, but in the case of Naomi Kawase Still The Water and her other previous film "Mourning Forest" for witch reasons i don't understand why the jury awarded it the grand prize there were far better films competing that year like Russia's entry and brilliant The Banishment. Still the water had an interesting concept for a great story and its tropical location and beautiful cinematography, still the screenplay falls flat the characters seem to sleepwalk through the whole film. I truly believe Naomi makes film for her and friends and she is unaware that audiences outside her realm are falling asleep to her films. i give this film a D.

That movie to contemplate the silence of the scenes while we reflect on the events, beautiful, poetic, intense, you have to pay attention to detail, and then I get lost, the charming Kyoko's family, strong scenes like the goat, hunting, bloody, rising sensuality and purity in nudity, simple and painful death, scenes broken by the sea and its surf, cold photography, blue and gray, passionate...

No, the last film of Naomi Kawase, internationally known as "Still the water", is not a film reserved to "intellectual people", as I heard recently. If we refer to "Last year at Marienbad" (Resnais-1961) as a film for"intellectual people", we find no common point, except slowness of the rhythm.

The spectator should only follow the example of the female heroin, Kyoko, who, in one scene at the beginning, dives into the sea with all her clothes (except her shoes), and enjoy this bath, meeting joyfully with the old-fellow fisherman, "PapyTortoise".

Following her example, we, spectators, should dive into the film, and enjoy the play of sunlight across the branches of the old banyan, just in front of the terrace of Kyoko's house; enjoy the meals lovely prepared by Kyoko's father (so much different from the meals eaten in a restaurant at Tokyo by Kaito, Kyoko's lover, and his father; and completely opposed to the food left by Kaito's mother in the refrigerator); enjoy even the soft departure of Isa, Kyoko's mother, after a long illness, among songs and dances.

I love so much this warm celebration of la joie de vivre, typically a Japanese one, as, after each disaster, typhoon, earthquake or tsunami, we see Japanese people build again, with a strong faith in life, all that has been destroyed.

If you have to tell a story of one day of your life in extreme detail, life is exciting, an action movie? No, life is a big big boredom.

The beautifull slow pace of Japanese movies ads an extra boredom that characterises most of a human life.

This is a extremelly cinematic beautifull movie since the beginning till the last poetic frame.

It's an art movie were several folklore aspects are explored.

It's about growing up and how sometimes teenagers are curious about life and drama queens. Knowing along the way that death is part of life.

It shows some raw pictures that are also part of life and they are the ones that curiously take the boredom of it away (even without guns).

It's a recomended movie if you want to get in touch with Japanese culture and you are an art lover.

This review is not about the film but the crude American taste.

Whenever my cinema-savvy friends criticised Hollywood, I'd jokingly dismiss their arguments, saying I enjoy action-packed, fun films for afternoons and that Hollywood has great production. I stand corrected.

This film has been given a 5 by metacritic. Check out the reviews. They say silent moments are awkward.. or that stares are long... I had an epiphany that Americans and their layman critics have actually no appreciation for an actual good work when they see one. Everybody likes a big Mac but in no way it means you can slam a 5-michelin star cuisine.

I always acknowledged Hollywood films try to appeal to the lowest common denominator. It makes them fun to a point. But I realised today it's not just their audience that is unnaturally confused with junk, but apparently American select critics are actually the lowest common denominator.

P.S. IMDb will not be a universal source until it goes beyond Hollywood standards.