From ‘Oppenheimer’ to ‘All of Us Strangers’: Cinematic Highlights of Early 2024″

Capturing the Intrigue of Unfathomable Films: ‘Anatomy of a Fall’ and ‘Evil Does Not Exist‘

-‘Anatomy of a Fall’ (directed by Justine Triet) is also mentioned by both of you.

Osanai: I think this film is wonderful, but I also have some thoughts about its reception on social media and in reviews. While I believe this film allows for various interpretations depending on the viewer, I noticed that many discussions focused solely on its gender perspective. While it’s valid to discuss the film from that angle, I find it frustrating when discussions exclusively revolve around that perspective, as if that’s the only aspect of the film worth discussing. It can be exhausting because it may not fully convey why someone would want to watch the film in the first place.

Kizu: I think that’s a movement specific to the age of social media. However, regarding the film ’Anatomy of a Fall,’ I also felt that it delves significantly into gender and sexuality perspectives. It’s not just about portraying men in a negative light; rather, it presents a script where the woman is the breadwinner while the husband takes care of household chores and childcare, appearing as a “progressive couple” to society. When they step outside the home, it brings forth other issues.

Lately, I’ve found French cinema quite interesting, and I consider this film to be one of those. Directors like Céline Sciamma with ‘Portrait of a Lady on Fire’ (2020), Julia Ducournau with ‘Titane’ (2021), Alice Diop with ‘Saint Omer’ (2022), and Laura Kivorchian with ‘Rodeo’ (2022) have emerged, bringing complex gender issues into film narratives. The complexity of these narratives doesn’t quite align with the one-sided views often seen on social media, which is why I feel that films are ahead of social media discourses, offering more complexity and richness.

Osanai: I think my interpretation of ‘Anatomy of a Fall’ as a film about creation and making things also contributed to my discomfort with how it was received by the public. It portrays a couple where both are artists, but the husband loses out to his wife in terms of the ability to complete their work. There are various interpretations possible, but the son constructs the story based on his mother’s testimony, leading to the belief that his father committed suicide. I interpreted it as a discussion on how creation can deeply impact people.

It was truly complex and not easily relatable, but that’s what made it remarkable. Similarly to ‘Oppenheimer’ mentioned earlier, films that are not easily relatable or understood, and those that shock you when you watch them, tend to leave a lasting impression.

-Since you yourself are a playwright and director, it makes sense that you view films from the perspective of creation. In that regard, there was also ‘Evil Does Not Exist’ (directed by Ryusuke Hamaguchi), which could be seen as a film that evokes feelings of “not easily understood” and “shocking when watched.”

Osanai: The atmosphere in the movie theater right at the end was incredible. We all shared a moment of surprised astonishment, like “Wait, what just happened?” I’m sure everyone carried that lingering feeling of confusion home with them, pondering, “What was that all about?”

I once again felt that the unique presence of characters in Hamaguchi’s films is largely due to his method of dialogue delivery. The villagers speak in a manner that might be called “wooden” or stiff. In theater, there’s a technique called “cold reading,” which differs from speaking stiffly. It involves reading the text neutrally, without adding dramatic embellishments, in order to preserve the essence of the text itself. As a result, in scenes like the assembly, emotions of the characters come across flatly, yet without any overt assertions, directly reaching the ears of the audience. Viewers who don’t typically watch many movies might especially find it startling.

-It seems that Ryusuke Hamaguchi’s method of reading scripts is influenced by Jean Renoir, the French film director.

Kizu: I found it fascinating how the setting changes throughout. It starts in a natural, scenic place, but then shifts abruptly to scenes inside an entertainment agency’s office, which distinctly feels like a Hamaguchi film.

The intriguing conversations in the car and the constant sense of unease about “where, when, and what will happen” persist throughout. Although compared to Éric Rohmer, especially in works like “Wheel of Fortune and Fantasy” (directed by Ryusuke Hamaguchi, 2021), there are actually quite significant differences. Hamaguchi’s films carry a suspenseful edge, where conversations can unexpectedly turn unsettling, embodying his unique style. The film boldly ventures into new territory, culminating in a blend of Hamaguchi’s cinematic mastery with entirely fresh elements. It was fascinating to see this culmination and exploration of new directions in Hamaguchi’s filmmaking.