The lead character was impossible to like; he even despised himself (his only saving grace during the whole film). The shaking camera, repeatedly taking endless, tedious looks at grass and pavement and walls was an artsy effect that gave me a headache, over and over again. It kind of reminded me of the times I forget to turn off the video camera and walk around with it hanging from my neck recording my feet. Unlike the film Japon, my clumsy mistakes were never acclaimed to be cinematic magic.
I'm not some PETA wannabe, but there were some really graphic scenes featuring cruelty to animals that were just pointless and stupid. Come on, what is the point of choking a puppy, you ignorant shmendrik. If you wanted to choke something, you should've choked Mr. Reygadas, the man who directed this stinker. And the final scene with the defiled old woman with her stolen bricks being carried away by rail... that final, endless shot of the tracks leading up to the train wreck must have lasted 10 minutes, but it felt like a lifetime. By the time we finally arrived to the scene of the final carnage, I envied those lying dead among the spilled bricks.
Pappy Bob's pedestrian opinion: Worst movie of all time. It was pretentious, boring, cruel, pointless, and pretentious (I know, but it was sooooooooooo pretentious). I've already put a condition in my last will and testament forbidding the distribution of my final assets to any descendent who fails to swear an anti-Japon oath upon my demise.
August 2014 Update. This is still the worst movie that I've ever seen.
is a highlight for the first half of the film. The rain stuff reminds me of the directors amazing "Stellet Licht" actually.
It keeps going, but it never get especially interesting. It's a film to observe and it probably need some time to sink in since it's hard to rate this film directly after seeing it. The director have some usage of original or special nude scenes, and I know that Reygadas has done that before.
Honest, deep, sad and sometimes dreamlike film. It's Dogme-like and artsy, pretty weird and an open mind is needed while watching this film. It felt long, and it's best discribed at boring, but it will stay with me as a whole. The closing shot is amazing and lift the film a whole lot as a total experience.
6 out of 10 pulque drinks.
Our nameless hero travels to a remote Mexican village to shoot himself. We have no idea why. He stays a few days with an elderly widow. There are some vague references to Catholic Christianity. The widow has a name/nickname that references the figure of Christ. Our hero finds occasion to lay upon his bed in a Christ on the cross posture. The mountain scenery that was purported to be strikingly beautiful; was mostly dry and rocky. There were some distant valleys that appeared to be green farm fields.
The story moves at a glacial pace. Events take place. And, we have a not surprising ending.
This movie might appeal to Catholics, people with a fondness for Mexico, or those with an existential bent of mind. It was not for me.
I do not recommend it.
Es una película que podría parecer simple y poco profesional, sin embargo, es una cinta compleja y hasta simbólica que puede dar cabida a diversas interpretaciones.
No fue de mi completo agrado, pero este filme es definitivamente un trascendental paso para Carlos Reygadas.
Reygadas, in the tradition of Tarkovsky, admits that his arguments are way too complex and pretentious regarding the general perception. Nevertheless, he has tremendous guts, because, just like Tsai Ming-liang, he dares to show life through an avant-garde scope and the resulting branches are tremendous and hard-to-digest meditations on life.
Japón is the perfect modern essay on society's alienation and existentialist escapisms. What is the real solution today for the one that does not find his/her place? Nothingness. Oblivion. Once or twice, even the most opulent, have been there, and once we get out of that realm, there's a temptation that pushes us to go back.
All in all, Reygadas is not transmitting his message to modern generations; he is waiting for the next ones to appreciate it. That's what a genius does, and that's why geniuses are never recognized in their respective eras.
Stellet Licht must be one of the most interesting films of the decade. That's why I wanted to see his debut, and what a delight it turned out to be. Carlos Reygadas is a unique voice in contemporary cinema.
The meditation (the pace of the film is really slow) on human nature depicted in a beautiful mountain range, delivers an enthralling and moving art house film glued to the retina for a long time.