Love Exposure

I reviewed Sion Sono's Love Exposure (2009) last December after I had seen it for the first time. I finally decided to rewatch the epic 4-hour film now that I own it on DVD. The film doesn't lose even a shred of its tremendous power on a rewatch. The experience of watching the film for the first time was so involving that I mostly forgot to approach it more analytically. During this rewatch I received the chance to fix that and the film still holds up as one of the greatest films I've ever seen.

Essentially Love Exposure is a love story. Try to imagine the most absurd and convoluted love story ever made and make it one that is intensive and interesting for 4 hours - then you are close to understanding what Love Exposure is like. Add outrageously funny jokes, an exploration of religious problems, crossdressing as a serious story device and a lot of other things. Love Exposure explores so many different directions it's a miracle that it is even coherent.

Even though (obsessive/delusive) love is more like a frame story in Love Exposure it is also an important, central subject/theme in the film. As the title suggests the film is about "being exposed to love", but the film adds its own twist to it by exposing love to a few of the most mentally screwed characters of the decade. The conflicts and problems of organized religion are approached via moral corruption and amorality that is guaranteed to disturb anyone. It really tells something about the film's perversive screenplay that panties and hard-ons are used as significant motifs for self-discovery.

Not only does the writing switch constantly between different moods (tangible drama/tragedy & laugh-out-loud comedy), the form is very flexible as well. Visually Sono employs interesting techniques on different occassions: Tarantino-esque editing and camerawork, long take aesthetic, modern shakycam (surprisingly well done in the right context) and even splitscreens. He knows exactly when to pause the chaotic madness and lets the audience catch their breath - and even then the plot marches forward at an insane pace. The soundtrack also reflects the various moods by alternating between Yura Yura Teikoku's charming psychedelic rock and classical music.

Due to its enormous length the film relies a lot on its young cast. Nishijima, Mitsushima and Ando perform superbly - and even though Nishijima does most of the heavy lifting, the ladies steal every scene they are in. Weirdly enough that never distracts the audience because Sono manages to make it feel fitting/justified.

Love Exposure is Sono's magnum opus in all possible ways: it delves into heavy themes while retaining his interest for gore. It's one hell of a tour de force for everyone involved in the production because it is utterly complex yet surprisingly simple and understandable at the same time. It's not only a technical exercise in complexity and absurdity, it's also emotionally involving to the point that it becomes a truly enjoyable catharsis for the viewer.

Score: 10 out of 10

Floating Clouds

Mikio Naruse's Floating Clouds (1955) is mostly ruined by a disastrous first half. The film establishes the story of obsessive love between the two main characters in such a rush that the viewer is left confused. The narrative doesn't calm down once for the first 25 minutes - and even after that it's still a bit lost until the film reaches its midpoint. The characters aren't really fleshed out until it's a bit too late and the music is as subtle as a sledgehammer when it should only be like a gentle push. Even Masayuki Mori's and Hideko Takamine's brilliant performances seem offbeat due to the sloppiness.

Yet the film still manages to be unified by a clear exploration of obsessive love and the photography is mostly spot-on (along with satisfying editing). Fortunately the film gets better the further it goes: the characters become interesting, the narrative remains dense - even though the pacing is a lot calmer - and the music is used well (even if it is still rather melodramatic). The tragedy is final when even the toughest character breaks into tears.

I admit I had high expectations for this film after When a Woman Ascends the Stairs (1960) blew my mind and I have to mention that these two films are vastly different. I wonder what the final film of my Naruse Collection DVD set, Late Chrysanthemums (1954), has in store for me.

Score: 6 out of 10

Citizen Kane

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Orson Welles' Citizen Kane (1941) is probably the single most revered film in existence. It is often said it is the film that saved, defined and revived the medium and the industry. It has been raised on a ridiculously high pedestral and if anyone even dares to second guess the film for a moment he (or she) will be attacked at or at least completely ignored. It's the Holy Bible of film lovers.

What is this great film about, then? The rise and fall of Charlie Foster Kane. This sort of story has become increasingly popular after Citizen Kane, but none of them have really mastered the idea as well. The life of the complex main character is thoroughly explored, but the narrative is probably a bit too dense for its sake. The narrative exposition feels a bit forced at times and it managed to make me feel a bit alienated. The film's emotional impact was reduced.

Pretty much everything has been written about the film's impeccable from. Its camerawork is probably as refined as it can get. The editing is ambitious and works well throughout the film's running time. The musical score is a tad generic, but it was hardly a nuisance.

In the end, Citizen Kane is a film I can admire, but I will probably never love.

Score: 9 out of 10

And the film lovers gasped in unison once they saw the "low" score.

In the Realm of the Senses

Nagisa Oshima's In the Realm of the Senses (1976) is by far the most sexually perverse film I've ever seen. It portrays sex in a very graphic way and occasionally blurs the line between cinema and porn - although the action is never even nearly as sexually arousing as porn (which is hard to do yet Oshima succeeds very well). The film focuses on an obsessive relationship which gradually becomes very extreme as the man and the woman search for the "height of passion".

Sex becomes more ordinary as it is shown most of the time throughout the film and becomes a new tool of storytelling. A lot of character development is portrayed through it instead of dialogue or other action. Their sexual obsession separates them from the surrounding society - only occasionally reminded by the presence of a geisha. There is also a subtle political subtext in the film (takes places in pre-WW2 Japan).

Oshima's form is breathtaking in its beautiful cinematography. Its excessive use of close distance shots is effective - and the few long distance shots are even more powerful and they add a lot of nuances to the film. Even though Oshima depicts the controversial sex scenes from a close distance, he observes them rather coldly with a calm pacing and unerotic compositions.

In the Realm of the Senses was (and still is) a very controversial film and I would recommend avoiding it if you can't watch a film half of which depicts sexual activities.

Score: 9 out of 10

Dolls

Takeshi Kitano's Dolls (2002) follows three different stories that have one theme in common - love. There is the story of a couple wandering in surreal landscapes after they face an emotionally drastic challenge in their lives. Another story focuses on an old yakuza boss who suddenly remembers a girlfriend he had decades ago. The third story tells about a famous pop idol and her obsessed fan who goes to great lengths to stay in touch with her.

Kitano has all the ingredients for a great film. The storylines begin in a promising way, but fall flat sooner or later. The first storyline is overlong and redundant, the second storyline is somewhat decent, but the ending is simply too abrupt and completely irrational. The third story ends up being quite decent and fascinating - I wish it would have been extended into a full feature film. Kitano gives us hardly anything tangible in the film - it's simply too vague. All of the characters are detached from the real world by love, but nothing is made out of that. Kitano seems to have run out of ideas for his "artsy film" - especially the terrible ending proves that. Dolls tells you how not to end a film. Even though I hate the glaring flaws of the content, it has a few redeeming qualities - such as the fascinating characters and observation on love (even if it's too distant).

Kitano's form is challenging because the film runs at such a slow and dreamy pace that it can easily make one fall asleep. However, it is fitting for the film. The delicious cinematography kept me interested throughout the film and the poignant musical score was a nice touch on top of the nice visuals.

Ultimately, Dolls is an intriguing film which is sadly flawed and at times frustrating.

Score: 6 out of 10

Wings of Honneamise

Hiroyuki Yamaga's Wings of Honneamise (1987) is a story of an ambitious space flight program set in a parallel universe. The premise might seem simple, but I assure you that the execution is very complicated. The film touches on dozens of things that it becomes rather hard to summarize it properly. Its dense narrative, fine characters and thoroughly explored themes guarantee a great experience for someone who is willing to dig deeper.

The pacing is peculiar in Wings of Honneamise: even though the narrative is dense, it seems as if the film crawls slowly towards the climax. This rough editing actually enhances the film's (especially the climax's) impact on the viewer. There are also great examples of how to use montages in the film - for example the launch sequence is one of the most gripping animated sequences ever. The art design is also rather fascinating. The musical score seemed offbeat initially, but once you got used to it, it actually worked quite well.

Ultimately, Wings of Honneamise is a perplexing film: everything works well, but it was so exhausting that I'm not sure if it's a masterpiece or not.

Score: 8 out of 10

Love Exposure

At first, I'm going to warn you about this review: it's not probably going to be coherent because it's more like a recollection of my viewing experience than a good review. I apologise in advance for the possible inconvenience caused by the review.

Sion Sono's Love Exposure (2008) is a long film. Its length is around 4 hours. Describing the film is nigh-impossible because it touches on so many things and one could say it has "too much of everything". Yet, it works flawlessly. Love. Religion. Family. School. Society. Delusion. Obsession. Perversion. Crossdressing. Sexuality.

During the first 10 minutes, the film provides us with 3 major characters (not the only major characters though) in a dense introduction. After that, all hell breaks loose already. Try to imagine the most wonderful and funniest farce you've ever seen. For me, that was Visitor Q's last 15 minutes. Love Exposure is even funnier than that - for the first hour and a half. It is so tongue-in-cheek about everything. The plot becomes quite complicated - although completely comprehensible all the time - and I have to admit I have never ever laughed as much as I did during the farcical period.

After laughing very, very hard I did not expect what was coming. I was trolled really hard as the film became serious yet it still retained its cartoonish tone at the same time. For a moment, I was utterly lost and felt disappointed, but then I realised how Sono had trolled me completely. Before I got used to the change of tone, I was completely mindfucked by the film. The flick was so intense that it grabbed me from my balls and just kept throwing me around for ages. That was the point when I realised how the film had me think and attacked my world view in a way only Neon Genesis Evangelion had done to me.

After the initial reaction to the mindfuck, things became a bit smoother for a while - until the film made me weep. The utter sadness was only interrupted by one laugh-out-loud moment, but the ending really tied it all together somehow. While the film was very depressive most of the time - or at least seemed so under its playful mood - the ending was extremely uplifting. The cathartic impact is undeniable for the film is life-affirming beyond comprehension.

While it is possible to doubt its content by looking at its narrative which seems unnecessarily complex, it would be simply dumb to criticize the film for that. It never failed to impress me despite its possible weaknesses and the power of its complicated structure is harrowing. Sono's editing is quite frantic most of the time, but it is never distracting. It builds up more and more tension as the film goes on - and releases in a few glorious moments. And when it does calm down for a moment, it is even more intensive. In those moments Sono leaves the film on the shoulders of the actors - and it is even more powerful that way.

Speaking of acting, the performances are pitch-perfect in the film. How is it possible to have 3 perfect tour de force performances in one film? Especially Hikari Mitsushima's performance as Yoko is haunting and magnificent.

The soundtrack for the film is baffling. It ranges from classical Western music to J-Pop. Sono's use of Ravel's Bolero is heart-rending and unforgettable.

How is it even possible to craft such a solid and perfect entirety out of such bizarre and diverse elements? Love Exposure has proved me cinema can go further than I believe. Now I'm afraid I might not like it as much when I rewatch it, but I'll leave that for later.

Score: 10 out of 10