Evil Does Not Exist (2023) User Reviews

Disappointing and Frustrating Ending

[writetofeefy · 6/10 · 18 February 2024]

Apparently this film derived from supporting an earlier music project. It feels to me somewhat cobbled together and poorly thought through.

The natural scenes are pleasant enough but too ponderous and awkwardly edited. The camera spends an age from the same longshot watching logs being sawn and split, not terribly skillfully. The camera tracks the main character giving his daughter a long piggy back through the forest in which they're identifying trees. I would've liked to see the trees they're talking about but we don't.

Then there is the arrival of the outsiders tasked with persuading villagers to embrace a new camping site which may have potential problems for the area. The outsiders are seduced and are clunkily charmed into wavering from their mission.

I might have endured these, and other shortcomings I perceived, and tried to come up with a meaningful interpretation, had it not been for the ending which made me feel as if I'd been duped into wasting the previous one and a half hours watching it. Everything that came before then seemed clumsy and pretentious. It was as if a serious nature documentary relied on an appearance by a Muppet character for it's denouement.

A different take on the man vs. nature conflict

[RahulM007 · 7/10 · 2 November 2023]

"Balance is key."

On a technical level, the film is flawless, but story wise it needed a little more work. I particularly loved how Hamaguchi incorporates 'pillow-shots' in his film. 'Pillow-shots' have a de-centering effect when the camera focuses for a moment, often a long one, on some inanimate aspect of man's environment. It perfectly captures the stillness of the scene, making for a calm and soothing viewing experience. While watching the movie, it becomes apparent that Ryusuke Hamaguchi was inspired by Yasujiro Ozu's signature style. The film touches upon the man vs. Nature conflict through a different lens. The ending of the film will surely leave the audience speechless and in disarray. It will prompt conversations way after the credits. To sum up: stylistically the film is a 10, but story wise it's a 7. And don't get me started on the film's atmospheric score that transports the viewer to the beautiful Japanese countryside (aka 'inaka').

Final verdict: 7.5/10.

We all act either following our interests or our instincts.

[federicopezzatini · 8/10 · 11 December 2023]

I believe the film's pace is key in reading the film. The long shots, the nature, sunsets freezes the time, even the spectator's, whom will happily immerse into for the beauty incapsulated in each frame. This beauty, slow camera movement makes the abrupt cuts of scenes and music even more drastic. Quite unusual for this type of film. And from moment one that must have had some meaning. The answer only arrives at the very end, which you won't perceive as such, since the time distortion makes the viewer believe we're still in the middle of the plot, and then again the film cuts. Leaving us with questions and answers: "a wild deer never attacks, unless defending cubs or when hurt". And this explains the title too: all man live in between the shades of black and white, evil and good. We all act either following our interests or our instincts.

enigmatic film about capitalism and nature

[dromasca · 6/10 · 2 February 2024]

Ryûsuke Hamaguchi is a film director who does not make life easy for the viewers of his films. After seeing his previous film, 'Drive My Car' (2021), which enjoyed international success, including an Academy Award for Best Foreign Language Film and three other Academy nominations, I made it a point not to miss his next films. I confess that 'Evil Does Not Exist' (2023 - the original title is 'Aku wa sonzai shinai') confused me. 'Drive My Car' was a complex film about art, mourning, human communication, whose main challenge (in my opinion) was its 3-hour duration. 'Evil Does Not Exist' is apparently a simpler film in terms of theme, dealing with the relationship between man and nature, presenting the simple life of a small rural community faced with aggressive capitalism. The beautiful moments are not lacking here either, but paradoxically, the 106 minutes of this recent film seemed to me less coherent and including more moments lacking emotion than the previous film which was almost twice as long. Add to that a more-than-enigmatic ending, and perhaps you begin to understand the reasons for my confusion.

It is not, however, at least on the surface, a very complicated story. The film has four parts. In the first part we get to know the life of a small community at the feet of the mountains (I think we even see Mount Fuji in the background a few times) which, although it is only 2-3 hours driving from Tokyo, leads a simple life, close to an unpolluted nature. Everything is filmed at a very slow pace, like that of nature and people's lives. Among the villagers, the camera focuses more on Takumi, the man who cuts wood and supplies his neighbors with clean water from the mountain rivers, and his daughter, Hana, who is about 10 years old. In the second part of the film the rhythm and style change. We watch a meeting between the inhabitants of the village and two representatives (a man and a woman) of a company from Tokyo that intends to build a 'glamping' (glamorous camping) tourist attraction in the area as a place of recreation for the company's employees. However, the construction will affect the quality of life of the residents. There is the danger of water pollution and fire hazards. In the third part the pace accelerates even more. A video conference is held at the firm's Tokyo headquarters where the General Manager and the project's consultant discuss ways to meet or skip the residents' demands without missing the deadline for the start of the project, which is financed by a post-pandemic fund. The man and woman are sent back to try to bribe Takumi by offering him to be a 'consultant' on the project. On the way, the two chat - a bit in the style of 'Drive My Car' - and seem to have been captivated by the quieter and uncorrupted lifestyle of the village. I prefer not to write too much about the last part. I'll just say that it veers towards 'horror' and is a prelude to an enigmatic ending worth discussing separately after you see the film.

The story seems simple, but it has many layers. Each of the four parts has its own rhythm and the composition is not unlike that of a symphony, with different tempos of each movement. The comparison to musical structure is more than a metaphor. This film started from the music of Eiko Ishibashi, who is also mentioned as the co-author of the script. Ryûsuke Hamaguchi began shooting for a video film to illustrate his music, which in turn was inspired by nature and village life. As the film emerged and developed, the idea of a fictional film was introduced, adding the corporate counterpoint which forms the core of the conflict. Clean water and innocent animals, which are never aggressive unless they are injured, can be seen as metaphors for a way of life threatened by urban and capitalist expansion. The actors are perfect and seem to be playing their roles from life, which is probably what many of them are doing. Ryûsuke Hamaguchi draws his viewers into a narrative that seems simple but hides many symbols and ends unexpectedly and enigmatically. Parts of the film charmed me, nature is filmed with sensitivity and expressiveness, but others left me with many question marks. 'Evil Does Not Exist' is a film that deserves to be seen, but viewers should be warned that they will watch an unconventional film. The ending - unusual as well and contradicting the title - is also an invitation to discussion.

Glamping it up

[politic1983 · 8/10 · 14 March 2024]

The opening shot is mesmerising, disorientating, as Yoshio Kitagawa's camera pans under the tree tops to Eiko Ishibashi's haunting score. The start of Ryusuke Hamaguchi's "Evil Does Not Exist" reminds of Bela Tarr's "Satantango" (1994), with a slow-moving, natural, extended take. Not as extreme, but it sets the tone for what comes next.

Mizubiki village is a quiet mountain town a manageable drive from Tokyo. A minor holiday destination, investors want to set-up a glamping site, which naturally meets resistance from the locals. Takumi (Hitoshi Omika), a local odd-job man is cautious, but willing to meet the proposals halfway if they take the local environment into consideration.

Takahashi (Ryuji Kosaka) and Mayuzumi (Ayaka Shibutani) are the employees tasked with meeting the locals and convincing them of the project. Sympathetic to their hosts, they are people doing a job they don't necessarily believe in, and so are neither one thing or the other. Seeming to connect with Takumi, they feel a solution can be reached, but the reality is they are met with contempt from both sides.

Straightaway this enraptures you and you are immediately drawn into the small village and its humble ways. The brilliance of nature is emphasised throughout, and the opening moments show this perfectly. And as Takahashi and Mayuzumi try to deliver the initial presentation, key members of the community voice the importance of the environment on their health, community, work and business.

The last of these is the only focus the glamping project has in mind, thinking of the pretty landscape, and not the impact a modern resort will have on it. As Alex Kerr emphasises in his book "Hidden Japan," once you have been somewhere, you've already ruined it. The village elder (Taijiro Tamura) puts his point across succinctly: those living upstream must think of their impact on those downstream.

Often, I've found Hamaguchi's films, while good, can feel a little awkward. Characters and their interactions can feel wooden (perhaps due to his use of novice actors) and their motivations hard to grasp. "Drive My Car" (2021) was a step-up for him, and "Evil Does Not Exist" is by far his strongest in its script. It feels tighter, with arguments better put forward, in both the initial presentation and Takahashi and Mayuzumi's drive back to the village, where they share their career decisions. It is much more natural, though Takahashi's sudden desire to change careers may be a bit much for some.

Takumi's daughter Hana (Ryo Nishikawa) is a key character, but perhaps from the standard use of a young girl to represent pure innocence. The true star of the film is the forest of its setting and the film's true lasting memory, working in unison with the soundtrack.

The title of the film is enigmatic, as is the atmosphere throughout. The isolation of the forest community, and their connection to nature, show an innocence. But clear in their desires, they show they will fight to keep what's theirs. Takahashi and Mayuzumi may be the face of the more sinister corporate body behind them, but also show themselves to be useless pawns, simply carrying out their job.

Is simple self-sufficiency more noble than misguidedly following orders from above for profits? The ending confuses this question, its incompleteness difficult to process. The real question is whether it is better to do bad to protect what you believe in, rather than trying to diplomatically do something you don't believe in out of expectation. Silence is complicit.

The forest is deep, and it's easy to lose yourself.

Politic1983.home.blog.

Cinematic episode of Coronation Street

[Vetements17 · 6/10 · 29 April 2024]

Extremely weak plot. I watched this because I'm interested in Eco themed films, the premise was average and the script could be used in the future on Eastenders in a two part Christmas special. Unsure as to how this got made. Someone has got their foot in the door somewhere. To say something positive I did find the Playmode employees interesting as characters and the cinematography was serviceable, which one would expect at this level. The pretentious editing cutting out the music was amateurish however, and the score was OK.. I would recommend watching this if it was on TV at home but to see it in the cinema would be a waste.

sure to divide audiences

[LunarPoise · 8/10 · 6 May 2024]

A local benri-ya-san (handyman), a single father in a provincial town near Tokyo, gets involved with big city interlopers looking to see up an ill-conceived glamping project in the area.

I am not a fan of slow cinema or the long take, and feared the worst when this film opened on Takumi take an age to chop firewood, then taking an age to gather water from a stream. But as the film stuck to its pace and Takumi gives daughter Hana a piggy-back through the forest, pointing out species of trees and wildlife tracks, I was drawn into the rhythm of Takumi's day-to-day existence. A discordant note arrived jarringly, as the haunting soundtrack abruptly cut out on the edit. As a device to create a sense of foreboding it could have been heavy-handed, but here it is a bold choice that sits in counterpoint with the natural beauty on display.

The story plays out the theme imbibed in the title resolutely. Takumi is no Crocodile Dundee; he knows nature and has an even temperament, but his forgetfulness leads him to forgetting to pick up his daughter once too often. And even at home, he obsesses over drawing when his daughter craves attention. His deceased wife is never mentioned, but her presence-through-absence hangs over every scene of family life.

The big city interlopers as first appear like pantomime villains. But then another side to them, too, is revealed. Takahashi comes across as a pompous fool in the village meeting, but there is a sincerity to his attempts to live a meaningful life, and we believe him when he talks during a long drive about wanting to dedicate his life to making his partner happy. His subordinate Mayuzumi at first appears to be the voice of pragmatism and common sense. But during the same drive we hear that she left a job as a carer to work in TV, a world she is fully aware is full of "lowlifes." She, too, has a shallow side. No one in this world is without shadows. When these three characters are thrown together in the film's last act, it is impossible to fathom where events will lead.

Where they do lead is to a point that audiences will either love or hate. Perhaps conditioned by the bum-numbing running time of Hamaguchi's previous film, Drive My Car, I for a fleeting moment thought the real action of the film was just beginning, when it suddenly ended. In a film full of jarring moments, this was the most impactful. Some might say egregious.

The performances Hamaguchi draws from his cast are flawless. I was stunned to read that Hitoshi Omika was an AD before this. His magnetism is simply off the scale. Ryûji Kosaka captures a certain kind of frail but annoying masculinity to a tee. Ayaka Shibutani shines in an understated but pitch perfect outing.

Evil Does Not Exist throws up a more questions than answers. It is an intriguing film, frustrating even, but Hamaguchi makes bold choices here and displays a confidence and maturity that is admirable. Three days after going to the cinema, I am still thinking about this film, still actually wondering if I liked it. Some are calling it a masterpiece, but I'm not so sure. It is though, without a doubt, well worth seeing.

Good slow-burn story about nature vs. people

[chenp-54708 · 7/10 · 6 May 2024]

Ryusuke Hamaguchi has made some interesting movies in his career like Drive My Car, Happy Hour, and Asako I & II. While I haven't been wowed by his works, I appreciate many aspects of his style and approach.

Throughout, this movie has some wonderful colorful productions, camerawork, sound designs and atmosphere which helped add layers of the nature landscapes and environment. The narrative provides some interesting themes of nature, conflict of interest, humans and humans vs. Nature issues and explores some interesting aspects that are strong. The performances are all pretty good as well.

However, I am a bit underwhelmed with certain aspects as I found some of the themes feeling a little uneven to work Hamaguchi is wanting to express. Especially when it comes to the characters as while I did found some of the characters interesting, I didn't feel too emotionally connected with their personalities and purpose which made it a bit difficult to fully invest at times.

The soundtrack is wonderful and the dialogue is solid. The film does suffer some pacing issues and with an ending that leaves to many interpretations which may be frustrating for some. Overall, despite it's flaws, it's mediative and nature experience made this movie pretty good.

Evil Does Not Exist

[CinemaSerf · 7/10 · 6 April 2024]

The initial few scenes here will give you an idea as to the pace of what's to follow. "Takumi" (Hitoshi Omika) is cutting logs for firewood, then he is seen laboriously ladling water into plastic bottles. His is a naturally structured existence that is driven by what's needed to stay fed, warm and watered. It's not quite a rustic life, though, there are plenty of mod cons - cars, electricity and the like, and his curious daughter "Hana" (Ryo Nishikawa) goes to the local school from where he regularly forgets to pick her up! The local planners and a talent agency have cottoned on to the beauty of this unspoilt area and have decided it could be ideal for a clamping site. A town meeting is organised and two city-folks turn up with precious little idea as to the impact their plans might have. Sent away with a flea in their ear, their bosses come up with a very watered down compromise to provide for a permanent caretaker - and they want to offer that job as a sop to "Takumi". What now follows sees the city-folks become more engrossed in his country ways until he, again, forgets to pick up his child and she goes missing. They all have to search high and low for her as the darkness and cold settles in for the night. Oddly enough it's the laconic dialogue and the gentle pacing that make this story a bit more interesting. The reconciliation of progress with nature, the clear clamour for profits at all costs and the power of persuasion all play their part before a slightly mystical denouement that rather emphasises the continuity of nature regardless of man's involvement. The young Nishikawa delivers sensitively as the film offers us quite an unique look at how man and it's environment ought to synergise.

A Movie That Grows On You

[hadocs · 8/10 · 29 April 2024]

It's funny to see people who no doubt gushed over "Perfect Days" dismiss "Evil Does Not Exist" as "boring" and "obscure". Like PD, it begins by following a man's quotidian routine: chopping wood, drawing water, identifying wild plants, teaching his daughter the names of trees. Perhaps the fact that he lives in a mountain town of no architectural or historical significance is what turns them off, but I found Takumi's activities as riveting as those of PD's public toilet cleaner.

As in "Drive My Car", we're exposed to a Japan that a few visitors--including many Japanese--have seen. As someone who was raised in Japan and returns regularly, I was thrilled to see a mountain location like the places I visited last year. I also found the plot--the incursion of a glamping company on the town's pristine land--riveting. What began as a fight-the-power, urban-rural plot turned out completely differently from the norm, a surprise I'm still thinking about days later.

Nature vs Neon

[steveinadelaide · 7/10 · 25 April 2024]

Ryûsuke Hamaguchi's Evil Does Not Exist is a very slow burn of a film, a character study disguised as an eco-drama. Nestled in the serene Mizubiki Village, a community thrives on a deep connection to nature. Their tranquility is shattered by the arrival of slick Tokyo suits proposing a glamping resort-a luxurious "escape" to nature for city dwellers. What follows is a clash of values, a meditation on the complexities of progress, and the blurry line between good and evil.

Hamaguchi doesn't hit us over the head with environmental messages. Instead, he lets the beauty of the Japanese countryside speak for itself. Lush forests and tranquil rivers become characters, a stark contrast to the sterile, neon-lit world the city reps represent. This visual poetry is amplified by the film's score, a melancholic blend of strings and woodwinds that perfectly captures the tension between tradition and modernity.

The acting is understated, mirroring the film's pacing. Hitoshi Omika, as Takumi, the gruff but conflicted villager, delivers a nuanced performance. We see his internal struggle-the fear of change wrestling with the desire to protect his way of life. The Tokyo reps, played by Ryô Nishikawa and Ryûji Kosaka, are initially portrayed as villains, all smiles and empty promises. However, as the film progresses, their own vulnerabilities peek through, reminding us that there's rarely a clear-cut bad guy in real life.

The plot of Evil Does Not Exist unfolds deliberately, sometimes feeling glacial. There are long stretches of dialogue that, while beautifully written, could test the patience of viewers expecting a more action-oriented film. The ending, too, occurs at a point where there is no resolution to the story, leaving us to scratch our heads wondering what might happen rather than being told. But there is a reason for this. By ending the movie (but not the story) in this way, Hamaguchi forces us to confront our own perspectives on the story, a tactic that might backfire for those seeking easy answers. There aren't any.

This won't be a film for everyone. Forget it if you want a fast-paced thriller. You will be disappointed. However, if you appreciate slow cinema and nuanced character studies, Evil Does Not Exist offers a rewarding experience. While the untranslated credits rolled, I just sat there, reflecting on our relationship with nature, the allure of progress, and the shades of grey that exist between good and evil. If you enjoyed contemplative films like Burning or Drive My Car (I enjoyed Evil Does Not Exist more), Evil Does Not Exist is definitely worth a watch. Just be prepared for a slow burn and an ending that will leave you pondering.

Slow and obscure

[max-48827 · 3/10 · 28 April 2024]

Had big expectations for this film! However, fell asleep in the first 15mins. And...didn't miss anything. The themes take too long to develop...slow and dreary. I understand what they were trying to highlight but it became dull due to it taking too long and laboursome. The ending was also....confusing. Everybody who saw it with me said what was the point of the ending. I Felt the ending was disconnected and made no sense at all. If I were asked to watch the film again the only improvement I would make would be to politely decline and do some weeding in my garden. Sadly, the film really needed more critics than me. Might be suitable for environmental activists who are familiar with Japanese culture!

Very enjoyable film from beginning to almost the end (no spoilers in my first part)

[GreenIsTheColor · 7/10 · 7 May 2024]

Well paced, well shot, beautiful images, great topic, great characters..

Unusual editing and constant unnerving music throughout, remind us that this is not a feel-good film, something "evil" - since it's in the title - might happen.

However, like many, I take issue with the ending.

It feels like they shot 2 alternative endings and end up using both simultaneously.

However, the movie is still very enjoyable, and the ending might grow on you.

*spoilers*

I read many interpretations, including the director's favorite, that the main guy is a deer or like a deer, but even he admits that it wasn't on his mind.

I disagree with all of them. A good person wouldn't kill if they were upset or annoyed with someone. And he wasn't threatened or anything as the deer explanation might suggest.

So the only logical explanation IMO is that he's not a good person, he's some psychopath who's done it before (and the title is a lie!), but there's no evidence of this in the rest of the film.

At the end of the day, there's no point interpreting or rationalising it. It's just a random unexpected turn of events that's been added for shock value I think.

A bit weak but in a way, kudos for the writers for making such a bold move, otherwise, we wouldn't have been talking about it, and it would have been another unnoticeable bittersweet film.

Time also does not exist

[kosmasp · 10/10 · 29 April 2024]

No pun intended - the movie starts off and sets the mood right away. This is nature, this is life here. Do you have the patience to follow, to just watch? The first 10 minutes or so "nothing" happens. Chopping wood, collecting water - but again this is supposed to get your mindset into the tune of the movie.

The english title can mean a few things. As in nothing evil exists in this part of the world. We do not even see a police station or anything of that sort. And while there is no reason for one (no apparent at least), you could argue that once the "intruders" come, it would make sense to have them there - just to show presence or for safety reasons.

So the community seems to work without any higher power - there may not be a mayor either. We do not see a clear leader here. We see different types, a wise one, a hot headed one and so forth. And our main character from the beginning who seems to connect or be connected with most people. And animals for that matter.

We do not get too much backstory for the characters (the viewer has to fill in the blanks for them and a few other story and character beats) ... just one from that community who says at a meeting that she came from the town, but feels like she is part of everyone in that village now.

Nature vs. Men .. and nature within men (and women for that matter of course). The movie may be a slow burn, but it does a great job telling a story and giving us a check. Have we forgotten where we have come from? Is money more important than the well being of others? Because whatever happens at the top, is having consequences to those at the bottom (that come after them) ... yes this is not only true for rivers, but for society as a whole too.

A movie that may test your patience, but will reward you in the end ... speaking of which: while the cinematography does a great job (and may suggest certain things I reckon if you look long and hard at some of the "pictures"), it puzzles us a bit ... what actually happened? What do we believe is going on? This will be in the eye of the beholder. Do our eyes conceive us? I reckon we will see or rather interpret what we want - morally and otherwise ... way more interesting and intriguing than you may think after the first couple of minutes ...

Unique, complex and artistic by a master

[martinpersson97 · 10/10 · 15 March 2024]

This incredible film, which is what some may consider an "art house" film, indeed - by the reknowned and acclaimed director Hamaguchi, is definitely another gem from the master - and perhaps his most somber, unique and artistic expression as of yet, which is by no means a faint praise, given his ever impressive track record with Drive my car and Temporarities and imaginations, to name just a few.

It is a very slow burning tale, deliberately so, and focusing a lot on every day life, conveying a quiet, dialogueless and low scale kind of drama in ever interesting and unique ways. What lays underneath is a dark, satirical and immensely well written commentary on society and humanity, difference between classes that few have tackled so well. The actors are all incredible, and it is a very career defining and beautiful piece.

The cinematography, cutting and editing is incredible, very authentic to Hamaguchi's style, and very low scaled and unique, befitting of the film. Very beautifully put together.

Overall, definitely one of the, if not the best, films of the year, and an artistic expression that I would highly recommend for any lover of film and fans of the director!

good movie for napping

[frsgtxpv · 2/10 · 24 March 2024]

It felt like a meeting that could've been an email. Soundtrack is great, so I would recommend taking a nap with it playing in the background, apart from that it was like a rollercoaster for babies - a bump there and there, but nothing actually happens.

I get the gist of it, but everything was just taking so long for no reason, long shots of the forest and chopping wood - pretty, but way too long. I thought maybe its just me, but after checking what other people wrote i realized it's actually extremely boring. Like another review said - very snobbish. I'd rather watch frozen in japanese at this point.

A Cure For Insomnia

[barbaravannorde · 2/10 · 3 April 2024]

Let me start by saying that I am always openminded when it comes to arthouse. In my experience there is no grey are with these types of movies, they are either very good or a total miss.

In this case it was the latter.

This movie relies on excruciating long scenes. There is little to no sound, and hardly any talking. This doesn't have to be a problem, but in this movie it was.

One definitely appreciates the scenery in which this movie sets.

For me, it was also intriguing to learn a bit about Japanese social norms.

The music was also good. However, overall this movie is just incredibly boring. I fell asleep for about 15 minutes.

There isn't much to take away from it all, so my advice would be to skip it. Appreciation for nature can be found in many other movies that are not as slow and dull as this one.

Boring, snobbish

[girosgamo · 4/10 · 26 December 2023]

I had quite big expectations about this movie but I found it boring (even if I usally like "slow movies" like those of ceylan etc): there are interminable sequences of filmed nature with a heavy soundtrack interrupted by few two-words dialogues. I think is also snobbish (it pretends to be intellectual and profound) but actually it is just a nonsense. The best part is the meeting between the people of village and the company, I thought I would have started to depart but it quickly landed again.

The final scene has no clue and the link with the whole story is hardly appreciable.

I gave 4 for the try, but play it again director!

Utter nonsense from one end to the other

[plupu66 · 2/10 · 14 September 2023]

A bit of background about me- the person who writes this review.

I have been attending the Toronto Film Festival for about 30 years. I like "festival"-type films: the "artsy" ones, the multilayered ones, the slow ones (within limits). I admire (most of) Japanese cinema and I have seen (and enjoyed) many Japanese films.

Having said all that, this film is totally snobbish nonsense. Starting with the title (that has little to do with what is going on there), continuing with loooooong scenes where a fellow chops wood and carries water to a SUV and ending with - well - the final images - nothing has any rhyme or reason.

I was looking forward to this film as it was advertised as having an ecological theme, but, if anything, it does the ecological movement a great disservice: it portrays the ecologists (and their movement) as a bunch of weirdos.

I gave it 2 stars rather than 1 because somewhere in the film it explains where a septic tank should and should not be placed. (I learned something)

(To add insult to injury, at TIFF, the film was "presented" by a young lady who was (mis)reading form a slip of paper a text that she did not write and had no idea what it meant.)

Absolutely dreadful

[olejanssen · 1/10 · 15 April 2024]

I've seen the German Synchronisation in a sneak preview in a cinema today, and I'll have to say burning the money would have been a better investment.

The movie has literally no plot. Whatsoever. Often, there's literally ten minutes of cinematic shots with no dialog whatsoever. When there is dialog, it has literally nothing to do with anything that has been seen beforehand.

The ending isn't satisfactory either. Not only is it the first time anyone actually does anything within the movie, but also because it was absolutely unforeseen. And that's not because the script is well written, but because it is at best vaguely related to the rest of the movie.

The only reason this movie deserves at least one star is because it is in fact a movie, even if that slideshow of a frame rate might indicate otherwise.