It's deeply juvenile, even obnoxiously so, a celebration of exploitation films that makes no apologies for its own warped sense of humor and obsessions with sex and violence; but it seems certain that a mature version of the film wouldn't have nearly so much energy; this is a film where it seems clear that saying "no" to any idea that crossed his mind would have cost Sono all the momentum that makes this such a wild ride.
This is not to say that the whole film is being sledgehammered at us. In fact, there is some awfully subtle filmmaking going on, including some very smart cross-cutting that reveals, through things like color temperature and angles, the gradations in feeling between Yu and Yoko.
When it rewinds at a certain to show us plot elements from the other side, it shifts perspectives gently enough that it doesn't even register at first.
And for all that the actors are playing big gigantic notions of teenage love and lust, on top of the other big gigantic things they're playing, there are some very lovely small moments for both leads, where the basic emotional truths that Sono is trying to get at come to the foreground.
For that's basically what this all doing, I think. The film is "about" a great many things: adolescent horniness and identify confusion is an obvious one, and part of the strategy it uses is to treat everything with the same overcooked feverish intensity that hormonal teenagers feel about everything.
If every single moment of the film feels like the most fervently underscored and bolded, played loudly and with exaggerated angles and bright colors, it is only getting at the way that every moment feels like the most important moment in human history to a sufficiently amped-up teen.
The film's genius lies in coming up with enough different ways to present this intensity that it never feels repetitive, but always somehow remains fresh throughout all four hours of the running time.
This isn't to say that it doesn't ebb and flow. For my tastes, the film is best in its first hour, when it's still darting around looking for a plot, and thus feel a bit more energetic and unpredictable, and in its last hour, when it starts to focus in on the bigger picture than just Yu and Yoko's increasingly strange interactions: as it implies right at the beginning, one of its other big fascinations is with the need for humans to have something to believe in - religion, a political cause, romance, it almost doesn't matter, as long as it's bigger than the individual.
The flip side being that these beliefs invariably break the believer, making demands that go beyond reason and sustainability, and Love Exposure 's final run of scenes thrive on this unresolvable tension.
It's a film about being overwhelmed, as much as it's an overwhelming film, and it's the most excitingly exhausting kind of too much, the kind that's so fearless that it can help but be compelling. Categories: action , comedies , japanese cinema , long-ass movies , love stories , thrillers , violence and gore. A Fall from Grace The Passion of Joan of Arc View on Twitter.
Alternate Ending Alternate Ending was formed when three friends realized they all shared a passion for movies. Despite the hefty length, the movie is never dull, mixing up styles and tones in a way that keeps you wondering what will happen next.
Comedy and action and melodrama bleed together effortlessly it's something the Japanese tend to do rather well and no matter how wacky the proceedings become, there's a sincerity and heartfeltness to it.
I liked the use of music, especially the "Bolero" in the first chapter, building up to the "miracle" that smashes our heroes together. The performances are all fine I don't know if I was particularly impressed with any of them, but they seemed to fit. Overall, I thought it was fantastic, complex and very entertaining. A bit like Jodorowsky, but more enjoyable.
MartinTeller Dec 30, FAQ 1. Why does Koike? Details Edit. Release date January 31, Japan. Official site Japan. Dog statue, Shibuya, Tokyo, Japan. Omega Project. Technical specs Edit. Runtime 3 hours 57 minutes. Dolby Digital. Related news. The dialogue seemed natural and appropriate for the characters especially when dealing with perverted topics.
It is honestly one of the funniest films I have seen in a while. The various romances are also nice, albeit creepy. At least one person in each relationship has some kind of ulterior motive, which creates some really nice tension. Love Exposure is very capable of being serious, and when it gets serious the film can be honestly affecting, but its sense of humor is what shines through in the end. Visually speaking, the film is fascinating.
As one might expect, there are a lot of panty shots in the film. Easily hundreds of them. Much like the myriad of ways Yu takes pictures, Sono films in sharply contrasting styles over the course of the film. There are a lot of different techniques at play, and while some of them come off as bizarre in a bad way , most of them work and give the film a very distinctive look and style. The colors are generally pretty vivid especially in the churches and give everything a nice sense of vibrance which makes certain parts of the film truly surreal.
Technically, however, the film is all over the place. Some scenes look very film-like and others look like they belong on reality TV. The sound design is even better. I laughed every single time someone took a photo in the film. The music is likewise appropriate, though at times it was a bit overbearing, especially during scenes that are supposed to be emotional. Indeed, Sion may have stacked the deck against our characters way too much to find an accurate release, a meaningful catharsis for this journey.
But what exhilarating torture it is. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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