The central idea behind the story is intriguating but at some point it starts to wander around seamlessness losing the initial power. The direction is academic with some reference to Mizoguchi interior scenes. It can be impressive for a graduation final project, Kiyohara will have the time to develop her personal style.
Percebemos aqui um exercício de estilo directivo que, infelizmente, esbarra nas precipitações roteirísticas. O ritmo é plácido e a condução é eficiente, mas o filme só engrena em seu quartel final, agradável em suas aberturas enredísticas e situacionais, ainda que prejudicado pelos diálogos forçados e pela interpretação da protagonista adolescente. Voltaremos a ouvir e falar sobre esta diretora, certeza! (WPC>)
I find it hard to believe this is a graduation project. The film is solid - the acting, impressive cinematography and camerawork, not to mention the mystery rigged plot. I suppose this might be a major blow to some - this film definitely poses way more questions than answers (actually, I don't think there are any answers served here) :-) Maybe answers do not always need to be an integral part of the experience.
Interesting passages, uneven, and when it tries too hard to be symbolic (vase and flowers, tree in the bike, secret box) it plummets. Still, I like it Japanese! "Maybe there's no one home when I wake up. I wish. Don't want" line, walls between houses you can poke with a finger included.
Is this a Japanese take on «Mulholland Drive»? A lot is similar. A dance to start the film, a woman with amnesia, a mysterious box, two women living together. This film is a lot more quiet and relaxed but is still a big mysterious puzzle to unravel to be honest and there is no easy answer at the end here either. Lacks Lynch’s extreme visual weirdness flavour though.
Watched this knowing nothing about the director, but was impressed overall. Like many debut films, it wears its multiple influences a little too strongly, and the tatami shots might be an ill fit with the handheld segments. But there is an admirable restraint here, allowing the viewer to fill in the gaps - what is not shown, not explained, and not subject to a booming soundtrack is sometimes the most important thing.
What a film as a graduation project. Kiyohara’s scene selection, the cinematography by Ryota Chida, the use of natural light, color scheme and of course the music score with the help Sebastian Bach! The film speak a haiku as it’s language, giving perspective that encourages spiritual reflection as the two girls walking by the sea.
Propone la potencialidad del escenario como metáfora de fuga y entrecruzamientos; tanto a través de una multidimensionalidad que contiene disímiles historias de la cotidianidad hogareña, como en las circunstancias en que tales dimensiones se entrecruzan fugazmente. Dos historias paralelas y distintas en el mismo lugar, que resuelven repentinamente el acto de entrecruzamiento con una simpleza desconcertante.
Strange but intriguing tale of parallel lives marks quite the calling card for student filmmaker Yui Kiyohara. While having the elements of a J-horror setup this film goes down a different path often invoking the work of Lynch or Kiyoshi Kurosawa (who she studied under). It may not include closure but certainly leaves one pondering its meaning. Well worth a look.
An amazing debut from Kiyohara. You can see Kurosawa's influence- there is an inexplicable eeriness that permeates the film. A dreamscape that refuses to explain itself, with an ending that leaves you with more questions. I can't wait to see future films by Kiyohara!