Himizu

Some of you already know I'm a huge fan of Love Exposure, but I hadn't seen anything else from Sono until this, so I was greatly anticipating it. It's set in post-tsunami Japan, and this setting is not only a context but a very important part of the plot, perhaps too much so especially at the ending when the film turns a little into a moralizing or even propaganda piece, with the main character crying "Don't give up!" repeatedly while we see images of the ravages of the flood. I gotta say those last minutes moved me to the verge of tears though, but that has more to do with how it builds up and connects previous elements shown in the film in a rather messy way. But I think that's the Sono way, with quick shots and thoughts put together, unexpected transitions, poetry mixed up with violence, sometimes inscrutable characters... This film also has some powerful cinematography going for it, with thinned down and warm colors, probably with some filter involved or maybe just postproduction grading to create this beautiful effect. Also worthy of notice is the soundtrack, with pieces from Mozart and Barber that enhance the poignancy of the film.

So in the end it's a tragic and also hopeful love story, with different situations involved that make true sense only towards the end. It has some disturbing scenes, with parents who want their children dead or people who want to kill other people in the street for no rational reason... Situations that are quite effective in portraying not only the material but also the moral and mental damages that can be caused by such an event as last year's tsunami. Still, it's no match to Love Exposure, and I don't think anything else from Sono is/will be.

****

This one - like The Land of Hope, for example - is a difficult one. Why? Because if it was from the hands of some famous Chinese, Japanese and mainly Korean directors, it would be praised as a masterpiece, but as it comes from Sono, it's different from what people expect and divide opinions.

It's a fantastic film, a great exercise of growing up with all the adversities against you, showing us how dysfunctional families can affect our future, even if we have dreams and want to fight for your dreams - this affects both of the main characters, but we also see how each of them react differently to different circumstances, just like in real life.

I expected that, by now, most people should have already know that there isn't a single Sion Sono. I am lucky to love all of them. To love the crazy Sono (who reminds sometimes Miike, but funnier and more consistent) and love the introspective Sono (sharing a lot with the Korean new wave, or even with some Chinese and Japanese dramas from the 80s/90s). But if you just love the crazy Sono, you should know that this other Sono is not for you. You can't be expecting the same on this type of movies.

I will mention again The Land of Hope to explore how Sono, one more time, can show us not only the family drama, but also, at the same time, criticise some aspects of the Japanese society, as, per example, how the society treats the people who lost everything (there is a great subplot about this with a fantastic interpretation by the veteran Tetsu Watanabe) or how schools can be cruel to a lot of young people.

Overall, I am one of the few who, in fact, prefers The Land of Hope - the balance between the elderly couple, the land, and the young couples was perfect, for me - but I think that Himizu should be much more praised than it is.

For those who have watched Ki-Duk Kim's Address Unknown, wild animals, bad guy or others, this Himizu could fit in that series of films. Personally, as I just mentioned, I find this movie highly influenced by Ki-Duk Kim's style in the first hour and then by Fyodor Dostoyevsky's classic novel: Crime and Punishment in the second hour, with the girl encouraging the boy to turn himself in. This mixture between the korean director and the classic Russian novel makes a superb drama that can please both sono & Kim's fans. I also find Sono away from his classic films such as Suicide Club, Noriko's Dinner Table, Coldfish, Strange Circus, etc. In Himizu there's the tendency to a drama more than a bizarre film like the classic ones of this director, yet a superb one.

This movie had an impact on me like no other film had before. Two 14 year olds coming from abusive homes are forced to look at their lives and see where they plan on taking them. The main character, Yuichi Sumida, claims early in the film that he just wants to be ordinary. Keiko Shazawa happily agrees with him since she is infatuated with him.

Neither of the teen's parents could care less about them. The girl's parents go as far to create a noose from which they want their daughter to commit suicide, since she is only a disappointment in their eyes. Yuichi and his mom run a boat shop which he runs on his own after she abandons him. His father shows up only to ask for money and abuse his son. The bad parenting in this film may be an exaggerated representation of Japenese culture, in how much pressure children are put under in order to succeed. The teens in this film have obviously given up on any dreams of success they may have once had.

The Yakuza comes to collect the debt that Yuichi's father owes them and this pushes his mind to a point where he becomes confused and violent. After this point, the film takes a turn. The first third is filled with comedy - the scenes with Yuichi and Keiko fighting, I found the most amusing - but the second two thirds are dealing with dark subject matter. Things become more shocking and also more intriguing. Anger and that has been built up in Yuichi is let out in unhealthy, though sometimes helpful ways. He commits an act that he feels guilty about and isn't sure what to do, leading him to try to find himself in scenes that I found very powerful. The sorrow, frustration and hopelessness I saw on screen resonated with me in ways incomparable with any other works of fiction.

To put it bluntly, Himizu is a coming-of-age story for angsty teens that aren't sure where their life is headed. By the way this isn't an insult, given how much I could relate.

Okay so this is another Japanese movie based on a Japanese manga. But this movie adds it's own flare to it, instead of trying to be exactly like the manga. Now this might disappoint some hardcore fans of the manga. But personally I liked the direction this movie took, it just went with the more emotional style instead of constant awkward Japanese humor that is in the manga. Not saying this movie is better than the manga or visa versa. It just has a different tone and style going for it. Sure the characters in this are very awkward and does things that doesn't make much sense. But those elements actually work for this movie, sometimes in Japanese movies the awkwardness can go all over the place without being consistent. This movie is actually consistent for the most part. Plus just about all the actors in this did a great job while also bringing out good amount of emotion. And just about all the character are likable for the most part even if what they do doesn't make much sense sometimes. Even some of the effects doesn't make much sense like the music for instance that constantly play classical music, especially from Mozart. But these effects that doesn't make much sense comes together in a consistent package overall. This movie shows that sometimes you can't judge people just by your perception alone but need to be in their shoes to understand since we all come from different background. It also has other messages but that one stood out the most. This is a fine manga adaptation that shows that not everything has to be word for word or frame by frame.

7.5/10