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Japon (2003)
Runtime: 2 hrs 30 mins
Synopsis: Assisted by a cane, the unidentified lead (Alejandro Ferretis) of JAPON limps through a desolate canyon in his trademark red flannel jacket searching for deeper meaning. He has arrived at this remote Mexican location, escaping the city to paint and find the kind of serenity only nature can... Assisted by a cane, the unidentified lead (Alejandro Ferretis) of JAPON limps through a desolate canyon in his trademark red flannel jacket searching for deeper meaning. He has arrived at this remote Mexican location, escaping the city to paint and find the kind of serenity only nature can provide. Here he stays with Ascen (Magdalena Flores), an elderly woman who cooks for him and cleans his shirts. Ascen has lived on the land for forty years, but her nephew Juan Luis (Martin Serrano) is now reclaiming the land. Juan Luis intends to demolish a building which protects Ascen's modest dwelling, so he can collect money for the stones that hold up the structure. As the unidentified painter tries to get Ascen to fight for her home, he develops a sexual desire for his elderly host. The importance of nature is prevalent throughout Carlos Reygadas' meditative work. Long, luminous takes allow thoughtful reflection as the film takes both its viewers and its protagonist on an existential journey. Adding to the languid beauty of the film is Arvo Part's moving score. [More]
Genre: Dramas
Starring: Alejandro Ferretis, Magdalene Flores, Yolanda Villa, Martin Serrano, Rolando Hernandez
Screenwriter: Carlos Reygadas
Producer: Carlos Reygadas
Composer: Arvo Pärt
Producer: Jaime Romandia
Reviews
Reygadas has fashioned a slow-burning meditation on life and death, faith and rebirth.
obese in length and overflowing in pretension like so many prototypical art films
If you're in synch with its heartbeat, and with Reygadas' tendency to pursue visual detours that intensify the film's sensual impact, this is a remarkable first effort that is equal parts disturbing, bold, mysterious and primal.
Its pretensions have the ring of, if not exactly a vanity project, a strictly personal obsession.
The sacrificed female body is used to resurrect a condemned soul and with her ascension comes the spiritual renewal of (The) Man.
All these references, though, form a jambalaya that doesn't go down so easy.
The one thing that is clear from Japón is that a major new visual stylist has hit the screen and that Reygadas' first film represents the beginning of an auspicious career.
Unfolding at an elliptical pace that feels like a revelation, or tedium, or both, Japon recalls the glory days of 1970s art-house filmmaking.
Unlike a lot of young filmmakers, the 31-year-old Reygadas takes his ideas about the world and our place in it as seriously as his filmmaking ambitions.
Reygadas grapples with the most elemental of issues ... and the result is sly, touching and more than a little loony.
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