Did uh Alex Garland or the composer for 2022's Men steal the sound effects from this film for that film's really obnoxious score?
As for the film itself, some parts tested my patience, but I still liked more about it than I disliked, and its unpredictability means that even the patience-testing parts aren't truly boring, because you're still able to wonder where it's going next.
Hitoshi Matsumoto seems to specialise in crafting weird, very unique takes on popular genres. He made a kaiju movie like no other with Big Man Japan, has created a super weird and compelling take on reality shows with Documental, and now puts his own spin on single-location psychological thrillers with Symbol. Say what you want about his films/tv shows, but I don't think you can call them uninteresting.
As for the film itself, some parts tested my patience, but I still liked more about it than I disliked, and its unpredictability means that even the patience-testing parts aren't truly boring, because you're still able to wonder where it's going next.
Hitoshi Matsumoto seems to specialise in crafting weird, very unique takes on popular genres. He made a kaiju movie like no other with Big Man Japan, has created a super weird and compelling take on reality shows with Documental, and now puts his own spin on single-location psychological thrillers with Symbol. Say what you want about his films/tv shows, but I don't think you can call them uninteresting.