Japón

A sloooooow, boring film shot in extreme conditions and with one single lens. It is starred by an amateur cast that now and then looks at the camera and a soundman that really wanted to get attention. Calling it `Japan' in order to associate an idea of spirit and transcendence that the western lacks is very naïve too, and that statement is certainly not translated in cinematic images during the film. I don't care if this is the real Mexico or not, I'd only seen very low filmmaking approached from a very low place. For similar stuff, Tarkovsky created better fiction and Flaherty better documentaries. Firm candidate to be awarded in prestigious film Festivals

Ok, I accept that the films might be slow, but the images are something unique. Words are only the confirmation of the images, just a few things to let us know the main plot. There's a love story, an attempt to suicide, death people in an accident, religious stuff, a drunk singer and actual sex. What else do you want from a movie? Well, in this movie all those elements are covered with a thick layer of sorrow, loneliness and stones. Landscape is something important, I should say is just another chacarter in the film, and at the end you know that the futures is always something unpredictable.

It's hard to understand how this movie can be recommended to 97% of the ticket buying public. The people who gave this movie a favorable review saw a different movie than I did. As some users say, there are very disturbing scenes which for me held little to do with the direction of the movie. Yes, he is going to this canyon to die, but do we need to see a scene where he rips off a birds head and you spend about 30 seconds watching the poor thing twitch and die? Or to see a dead horse laying there with his insides showing? And even though the title character had sex on his mind even as he is planning his own death, do we need to see a very graphic scene of 2 horses having sex? This is also one of the slowest movies around and also one of the most unrealistic love or should I say sex stories ever made

One of my favorite movies of the last couple of years. I happened to see it in a movie theater in Argentina, so I have no idea whether it plays well on a smaller screen. That said, it's a haunting meditation on the transitory and ineffable nature of life, on the tiniest of joys that in the end are all we can rely on to make our existence meaningful. The cinematography is breathtaking and does justice to the desolate beauty of the canyons of northern Mexico. Don't expect a rollicking narrative. This movie invites you to enter a lingering dream.

Japón is not a film about Japan. It is a Mexican film, but not a film about Mexico either. For me, it is something really grand: a film about cinema and why it still exists. The story is rather simple and not at all world-shattering: a man, determined to kill himself, walks into a canyon in order to commit suicide in peace and tranquility. He moves to an old woman's house and, impressed by her attitude to life and somehow inspired by what is going on in the beautiful Nature around him, falls in love with or, or at least unfolds the desire to sleep with her. Telling the rest wouldn't take long but still spoil a lot.

The important thing is not the story (including logical character development) but the way it is told. The movie has the air of grandezza sometimes, it is the opposite of naturalism, but thus it is much more like „reality` than a couple of Dogma-style films. When you are alone in nature, well, what else will you do but admire the wonderful landscape and small events happening therein for a couple of minutes, trying to absorb it as intensely as possible? As a result, there are quite lengthy moments in the film, which might repel some people but that's a pity because it means that they are unable to enjoy the immediate experience of beauty.

In a review I read the author charged Reygardas with being pretentious and cheap, and I guess he referred to the very last shot (which, by the way, could be the most astonishing technical achievement a cinematographer has ever performed!). I understand what he means, and in a way he is right but I find that what we see makes up for this oh so terrible lack of modesty. Seldom have I heard so little noise in a theatre after the last image of a film - it was completely silent (except for one person in the audience who couldn't help applauding). And this experience has confirmed me in two opinions: First, movies are not made for intellectual critics in the first place. And second, cinema will always have a reason to persist. Nothing like a television or DVD set can give you the same feeling as a movie like Japón on the big screen. Of course, there are a lot of films that need the big screen to be worth their money but, as opposed to them, Japón is something really, really great, touching our hearts AND senses AND also (it is not a silly movie!) brains.