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The recent films Drive My Car and Burning, two exquisite screen adaptations of Haruki Murakami’s fiction, delve into unsettling enigmas and longings, spun around performances of gripping subtlety. As a work of animation, Blind Willow, Sleeping Woman can’t plumb behavioral depths and tics in quite the same way. But animation is an apt medium for exploring another aspect of Murakami’s work, his magic-realist spin on existential angst. Pierre Földes, a composer and visual artist at the helm of his first feature, has made something that mixes the painterly and the stylized, a film that’s lovely, mysterious and also, at times, fittingly odd.
The writer-director finds connective tissue among the various storylines in the idea of an earthquake as a psychic rupture, shaking loose the dissatisfactions and yearnings that are usually under wraps, keeping people shut off and stuck. Földes’ multiple roles here include writing the score,...
The writer-director finds connective tissue among the various storylines in the idea of an earthquake as a psychic rupture, shaking loose the dissatisfactions and yearnings that are usually under wraps, keeping people shut off and stuck. Földes’ multiple roles here include writing the score,...
- 4/14/2023
- by Sheri Linden
- The Hollywood Reporter - Movie News
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