Movies
Japan's 90s Cannes winner. Of all the Japanese films that were made in the 90s, I have no clue why this one managed to win this prestigious prize though. I know that Imamura is a respected director, and The Eel isn't a terrible film, but there's not much that jumps out here. Even a second viewing couldn't reveal the film's secret. Koji Yakusho's performance is solid but nothing too out of the ordinary, the mix of drama and crime elements works well, but it's been done before. There are some slightly more surreal scenes, but they feel a bit flimsy, the ending on the other hand was a bit too farcical. Not bad, but not all that memorable either.Read all
Certainly not the worst Imamura, though I don't think I'll ever become a fan of his work. Like most of his films, the acting is quite crude and unsubtle, with symbolism layered on thick. What saved this film from anonymity for me is the interesting finale, which is easily the best part of the film. The first 90 minutes is spent exploring the community and its people. There's a lot of intercourse (between people, between animals and even some interspecies fidgeting) and a lot of poverty as people try their best to survive in the town. The trip up the mountain really calms things down and finally there's some true beauty shining true. It's a film that has its moments, but there's not enough of them to turn this into a worthwhile classic.Read all
Imamura's Hiroshima-based drama deals with some dark and tough topics, but it would've benefited greatly from more subdued performances. For a drama, it's way too loud and heavy-handed. It seems to be a returning factor in Imamura's films, so maybe he's just not my kind of director. Yasuko is present on the day of the Hiroshima bombing. She witnesses the event from afar, but gets exposed to the "black rain", which is heavily contaminated. She returns to her village, where she is shunned by the other villagers. Her guardians try to set up a marriage for Yasuko, but they have trouble finding any men who are interested. The stark black and white cinematography is definitely appropriate, but it makes the film look older than it really is. The village drama isn't all that interesting and the performances are too over-the-top, making it hard to get really into the film. There's definitely potential here, but Imamura's direction doesn't really do the topic any justice.Read all
