A Review on Kimi no na Wa by Makoto Shinkai – 172297

The first time I watched Kimi no na Wa was two years ago, back in 2017. I remember when my sister first discovered it way before I did, I had made fun of her for crying so hard in the middle of the night as I accomplished my homework. She had rolled up into a ball, crying in fetal position. Ironically enough, months later, I found myself in the exact same position with the lights out, tucked in bed, and volume on full blast with Nandemonaiya by RADWIMPS playing in the background. I bawled my eyes out at 3 in the morning, and woke up feeling a little less off eight hours later.

Every time I watch the film, I cannot help but get goosebumps whenever the soundtrack comes on. Initially the film already gives us a glimpse of the events to come in Kimi no na Wa’s opening sequence. The comet crashing down Itomori is actually foreshadowed. To think that I would not have guessed such twist upon first viewing of the film is laughable, seeing as it was even the first shot showed in the film. Moreover, a myriad of spoilers are already disclosed in the film’s opening sequence. These include the body switches, Mistuha’s the visit to Tokyo, and their eventual meeting, unbeknownst to Taki. In summary, the film’s opening sequence already gives us the story in the span of five minutes—but because as audiences, we are initially enthralled by the animation, scoring, and the fact it’s a foreign film, we fail to catch these not-so-subtle hints. Personally, I encountered a lot of difficulties understanding the film’s plot and storyline in my first few viewings of the film. As a visual learner, I would have to admit that I was too intrigued by the other elements of the film—its scoring, cinematography, cute characters, among many—that I failed to pay attention to what can be considered as its most important aspect: the plot. Although I have seen a lot of foreign film and television shows, and the processing of words in my head doesn’t seem to be a problem, the storyline’s intricacy requires a little bit of intellect and attention to detail. Even though I’ve seen Kimi no na Wa for about seven times now, I admit that I was only able to fully understand the events of the film when it was showed in class. Making a point to analyze the script and dialogue only, it was surprising to see that the creators were very straightforward about its explanations for the film. Some hints were dropped early on in the film including the concept of tasogare-doki and kataware-doki is explained earlier in the film by Mitsuha’s teacher in class. She explains the origin of this word by saying:

“‘Tasokare’ means ‘who is that’ and is the origin of the word ‘tasogare-doki’. Twilight, when it’s neither day nor night. When the world blurs and one might encounter something not human.”

When Taki and Mitsuha meet, we must remember that this happens at twilight where according to its definition, the two worlds blur.  Her teacher further explains:

“Old expressions include ‘karetaso-doki’. Karetaso/Kawatare = Who is that and ‘karetaso-doki.”

When a classmate asks about the term kataware-doki, her teacher replies that kataware-doki is a “classical” and local language used by the elderly of Itomori. Given all the documents documenting their history was lost in the Great Fire, the present people of Itomori cannot identify the actual roots of the word. All these were details that I discovered because I had actively searched for them in preparation for the class presentation. Had I not done this, I would not have known how important it is to look at the Japanese cultural, traditional, and religious concepts that heavily influenced the creation of the film.

Moreover, the concept of musubi is explained by a Shinto terminology that is defined as “the spirit of birth and becoming.” It is also recognized as creating and harmonizing powers. According to Mitsuha’s grandmother, musubi is essentially defined as the “old way of calling the local guardian god.” She says that the act of tying thread is musubi, as is connecting people. Braided cord is a distinct tradition and symbol for the culture and the people of Itomori. The flow of time in itself is musubi. The braided cords that they make are the “god’s art and represent the flow of time itself.” Kuchikamizake is musubi too. Either by knotting thread, or consuming something like sake that is offered to the gods, it joins the individual’s soul and is considered as Musubi. Time. here, is a natural occurrence that can be arranged, rearranged,  and controlled by kami or the celestial beings.  “They converge and take shape. They twist, tangle sometimes unravel, break, then connect again.” Her grandmother already blatantly alluded to the possibility of this so-called “time travel.” In their trip to the kakuriyo, Mitsuha’s grandma says these lines:

“Musubi is the old way of calling the local guardian god. This word has profound meaning. Tying thread is Musubi. Connecting people is Musubi. The flow of time is Musubi. These are all the god’s power. So the braided cords that we make are the god’s art and represent the flow of time itself. They converge and take shape. They twist, tangle sometimes unravel, break, then connect again. Musubi – knotting. That’s time. Whether it be water, rice, or sake, when a person consumes something and it joins their soul, that’s Musubi. So today’s offering is an important custom that connects the god and people.”
I believe that with the constant reference to the Red String, Kimi no na Wa truly highlights the concept of destiny. Author Lucia Ortiz Monasterio’s writes that: “Legend has it that the two people connected by this thread will have an important story, regardless of the time, place or circumstances. The red string might get tangled, contracted or stretched, as surely often happens, but it can never break.” As cliche as it sounds, if you are meant to be with someone, you will always find your way back to them—time and time again—despite all odds.

A Review on Sorry to Bother You by Boots Riley – 172297

Equally bold and entertaining, Sorry to Bother You (dir. Boots Riley) recounts the story of Cassius Green (Lakeith Stanfield), a broke Oakland native living in his uncle’s garage with his eccentrically brave girlfriend Detroit (Tessa Thompson) applies for a job in the telemarketing industry in hopes of making some cash to pay for his rent. During the first few days of his stay in RegalView, things do not seem to be looking up. He fails to make enough sells to his customers whom he fails to catch the attention. As advised by management, Cash sticks to the script provided by the company. The other seem to be making enough commission, but he remains defeated. When an old-timer employee advises him to use his “white voice” in selling the products, Cash eventually makes back-to-back sells left and right. While his colleagues and his girlfriend Detroit strive to fight for their rights to decent pay as white-collar workers, Cassius eventually makes it big in the company and gets promoted to a “power caller” of RegalView, selling arms and highly controversial products to big-shot buyers.

Detroit tells him that his job is “morally emaciating,” but Cassius claims that for once in his life, he is doing something that he is good at, while also getting high pay enough to sustain for himself and his partner. Cassius’ internal struggle of choosing to fight for what’s right and putting yourself first is evident, seeing as he enjoyed the fruits of his labor, having  practically come from nothing. What makes Cash a great character is his relatability and practicality. While it was pretty evident that he lacked backbone and moral fiber, Cash’s problems are valid given that this is commonly faced by many individuals in society. While selfish in nature, Cash was fueled by the need to prove his capabilities to  himself and the people around him. Coupled with his need to provide for himself, his relatives and fiancee Detroit financially, I would understand the difficulty he might have faced in this moral dilemma. This is in stark contrast to Detroit’s character. She is headstrong and radical, strongly fighting for what she believes in, and unshaken by fear and external threats.

Moreover, Sorry to Bother You sheds light on racial & capitalist themes in its storyline. Cassius’ use of the white voice is satirical. It is a commentary on white privilege and the blatant discrimination of African Americans and people of color as observed in the diverse ethnicities of those who had joined the RegalView union. When Cash had not yet discovered the power of the “white voice,” his calls were immediately dropped, not even given a second of the day by showing outright disinterest, despite his smart use of language and a polite tone in approaching the customers. The emphasis on social hierarchy and commodification is exemplified in the distinction between power callers and regular workers in RegalView. Callers are seen as assets in forwarding the agenda of this massive, faceless corporation. This is also observed in the recurring image of violent protests against the abuse of WorryFree, a corporation led by Steve Lift (Armie Hammer), which strongly mirrors the America of today.

While its narrative is mainstream and the film prioritizes entertainment, the film was still successful in furthering its message through the use of modern comedy and humor in its commentary against racism, white privilege, and police brutality that maybe only people of color (POC) will understand and enjoy.

A review on Repo Man by Alex Cox – 172297

To be frank, the only reason why I had invested some interest in Repo Man is because of Emilio Estevez. I haven’t really seen much of his films—only catching him in The Breakfast Club as the jock Andrew with daddy issues, and lovestruck law student Kirby in St. Elmo’s Fire. I was excited to see what he could bring to the table as Otto, a store clerk who recently just got laid off his job at a local supermarket. The young punk gets another shot at employment when he’s recruited to be part of a company that engages in professional car repossessing. Bud, also a professional Repo Man from the Helping Hand Acceptance Corporation, tricks Otto into driving a car out of a neighbor under the guise of an emergency involving his pregnant wife giving birth at a hospital. Needing the money desperately, Otto takes it albeit with a bit of hesitation. The film takes a weirder when Otto gets involved with Leila, who is looking for a Chevy Malibu with aliens hidden in its trunk. Otto’s employers have offered $20,000 for anyone who can find the Malibu—driving everyone on a full-blown hunt for the car, including Helping Hand’s competitors who are also in the car repossession field.While I can understand why the film enjoys a cult following with its crazy alien fun, car flexes, and the Los Angeles punk scene, it did not seem all the more appealing to me even in my second viewing of the film. I, personally, felt that Otto’s lack of character as a protagonist was a factor that could have contributed to it. Throughout the film, it felt like he was just washed away and taken wherever the plot went. To me, he did not feel like enough of a major character for the film to feature. Or, it may just be the overall lack of message and magnitude that keeps me asking why Repo Man achieved cult status.

A Review on Velvet Goldmine by Todd Haynes – 172297

Growing up, I listened to a variety of music as influenced by my father. On weekends, I’d wake up to a playlist with the likes of Depeche Mode, The Smiths, Duran-Duran, The Cure, Tears for Fears, Led Zeppelin in his repertoire—and the list goes on. He had always talked about David Bowie back then, but I had never gotten a chance to listen to his discography. I even recall his attempt at explaining the difference between Ziggy Stardust and David Bowie—what with the whole Iggy Pop fiasco. After a seven minute attempt at getting it through my head, he had eventually given up as my 11 year-old self struggled to understand the concept of alter egos in the face of the music industry.

With Velvet Goldmine shown during class, however, I was surprised to have been able to piece my little knowledge of David Bowie, his Ziggy Stardust alter ego, and his previous relations to Iggy Pop, with my understanding of the film. Alongside Trainspotting, My Private Idaho, and Sorry to Bother You, Velvet Goldmine finds its way into my top picks and favorite films studied throughout the semester. Having been awarded with Best Artistic Contribution at the 1998 Cannes Film Festival, it is no doubt that Todd Haynes had managed to demonstrate cinematic excellence both visually and musically while successfully telling a non-linear narrative and the usage of flashbacks. The story of Velvet Goldmine surrounds the investigation ensued by English journalist Arthur Stuart on the whereabouts of glam-rock icon Brian Slade. In commemoration of the tenth year anniversary of his disappearance from the industry, Stuart aims to find out how Brian Slade had gone from the spotlight to the shadows of media attention. In several interviews with the people who were part of Slade’s life, such as his previous business associates, and ex-wife Many, an encompassing narrative is formed about the rise and fall of Slade’s musical career with details only those close to him can provide—reminiscent that of Citizen Kane, according to some critics.

Inspired by David Bowie, Brian Slade is an androgynous glam-rock star with an alter ego called Maxwell Demon in contrast to Bowie’s Ziggy Stardust. “Velvet Goldmine” itself is a title of one of Bowie’s side tracks, lyrics written through the perspective of a groupie who lives to worship his alter ego and persona Ziggy Stardust. Before rising to stardom, Brian was initially married to American personality Mandy Slade, inspired by Angie Bowie. Mandy and Brian soon settled on getting a divorce following Brian’s bisexual affair with Curt Wild.

Wild, on the other hand, was inspired by both rockstars Iggy Pop and Lou Reed. In contrast to Slade’s British glam-rock scene, Curt had indeed inspired a wilder take on the music industry brought about by his being American alongside his inclination to the punk lifestyle. His unabashed difference and uniqueness made him stand out from the rest, eventually catching the eye of Slade both personally and professionally. In an interview with the Stephen Dalton of the British Film Institute in 1998, director Todd Haynes says, “We have a very modest goal for this film. That’s just to turn every gay person straight and every straight person gay.” A film in the line recounts Slade’s claim that “everybody is bisexual.” Glam-rock paved the way for cultural, sexual, and societal revolution, at least within the British context. This allowed the people, mainly the youth, to express themselves freely; may it be through fashion, music, clothing, or makeup, blurring the lines between gender roles. True to his word, director Haynes explored the themes of fashion, bisexuality, and experimentation of music evident through the film’s production design and scoring. The musical segments and numbers in the film were telling of the style each character possessed, and how the theatrics had influenced their massive fan following. According to Sandy Powell, the film’s production designer, much of the content is Bowie-inspired, having used the British icon as a template for the 1998 masterpiece. Successfully encapsulating the Bowie era of England and blending its own flavor to the glam-rock concoction, I can say that in its 123-minute running time, Velvet Goldmine is victorious in immersing their 21st century audience in the glam-rock culture and sexual rebellion of the 70’s.

A Review on My Private Idaho by Gus Van Sant – 172297

Having no prior knowledge of My Own Private Idaho before viewing it, I was surprised to see River Phoenix on the big screen. Because of my father’s influence, I grew up watching River’s older films when he was still a budding child actor, such as Stand by Me and Explorers. Seeing both Keanu Reeves and River Phoenix take on much mature and diverse roles was already enough to keep me on my toes for the rest of the film screening.

River Phoenix portrays main character Mike Waters, a penniless street hustler who does odd jobs that are often sexual in nature in order to make a living. He is diagnosed with narcolepsy, which as defined by the movie in its opening sequence, is “a condition characterized by brief attacks of deep sleep” and are forced to suffer through these attacks alone without the help and support of what’s left of his family. In the first few scenes of the film, he falls into a deep sleep every so often, with recurring images of his mother flashing before he falls asleep. These are triggered by stressful situations in which Mike gets himself in, or objects, places, and older women that are reminiscent of his mother. In these visions and hallucinations, Mike sees his childhood home, flashbacks of his family of three together,  and even imagines his mother cradling and reassuring him that everything will be okay. More often than not, these narcoleptic episodes serve as transitional devices to further the film’s storyline. Whenever Mike wakes up, he ends up in a different place or even back home with the help of his friend Scott.

Scott Favor, played by Keanu Reeves is, Mike Waters’ best friend. A rich kid born to a mayor for a father, Scott simply engages in street hustling and prostitution to spite his parents—mainly his dad whom he hates because of difference in beliefs and who thinks that Scott is nothing but a disappointment. Unbeknownst to his father, however, Scott’s actions are a mere device to his grand scheme of claiming his inheritance once his father passes away, and he is of age. Moreover, Scott has divulged plans of climbing the Portland political sphere as mayor, just like his father. The film’s themes of loneliness focus on the emotional trauma and detachment experienced by these street hustlers: mainly Mike himself who has never had a functional family but Scott, who eventually rejects his confession of feelings. In preparation for his portrayal of Mike, there have been videos on the internet circulating about River’s conducting of his own personal research. He interviewed street hustlers in order to gain more insight about the role played and to be able to resonate deeply with his character. (Two of the street hustlers he had interviewed were casted in the film. The nine-part interview can be found here: https://www.youtube.com/watch?v=wzdC_z6D37s.)

In the middle of the desert, the two have their moment of peace and silence amidst all the chaos and sexual transactions in the city. Mike confesses his feelings for his best friend, albeit hesitantly. Here, we can infer that Scott is still confused about his bisexuality. He claims that he is willing to have sex with a man for money, but believes that two men cannot fall in love with each other. Mike claims to love him even though the feelings are not reciprocated. Nonetheless, Scott still accompanies Mike in his journey to find his mother. Still faithful in spite of the many setbacks that come their way, from Idaho to Italy, Scott remains by Mike’s side. The trip to Italy seems hopeful, leading the audience, including myself, to think that this finally the resolution and happiness that Mike deserves. After all that he has been through, one cannot help but root for Mike—played exceptionally by River Phoenix with his sensitivity and vulnerability in spite of the firm exterior he seems to put up.

Once they arrive in Italy, however, the two are greeted with the news that Mike’s mother had gone back home to the United States. With the audience thinking that the trip was all for naught, Scott eventually finds something that he wasn’t looking for. While watching this part, I had pathetically asked the question: what did Mike do to deserve these things in life? As a viewer, it is difficult not to pity Mike with all the situations he has encountered just to meet his mother once again, and find the peace that he is looking for. In this trip to Italy, we see that nothing is actually resolved; rather, Gus Van Sant puts us through another round in this emotional rollercoaster of heightened conflict. Scott falls in love with Italian native Carmella who Mike’s mother had taught English to during her stay in the farm. Rooting for Mike’s happiness and joy, I could not help but feel frustrated with the constant dejection lifes throws at him. At the height of the film, everything that I had been looking forward to at this point, falls apart when Scott hastily makes the decision of going back to America with his lover—leaving Mike to fend for himself in a foreign country with a little cash. To add to that, he barely spoke the language. At this moment, I cannot begin to comprehend the heartbreak and betrayal that Mike must have felt, seeing the car drive away with Scott and Carmella barely sparing him a second glance.Back in America, Mike has spiralled into despair and loneliness—a common theme seen throughout the movie. This is even more so highlighted in the scene wherein Scott simply drives by at the backseat of a limousine, despite seeing Mike in a deep sleep along the side of a road in the city. Scott had turned his back to the life of street hustling after the death of his father. Once he had received his inheritance, it was as if Scott did a complete one-eighty by suddenly getting his life together, with a pretty trophy girl by his side as he attended social gatherings. In this complete makeover, along with the funeral of his two fathers—Bob Pigeon and biological father Jack Favor—he had buried with them the life of male prostitution that he had lived during his youth. Now that was 21, it was time to say good bye to such lifestyle once and for all—completely forgetting and laying to rest the relationships he had built along the way quite remorsefully. As for Mike, life simply continued without remorse for him. This time around, however, there is no Scott Favor to look out for him as strangers rob him while in a deep sleep, and an unidentified individual picks him up in the middle of the road—much identical to the film’s opening sequence.

A review on Futureless Things by Kim Kyung-Mook – 172297

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South Korea being a nation lacking progressive ideals regarding homosexuality and same-sex marriage, I must say that Futureless Things by Kim Kyung-Mook is the first time I’ve seen two individual of the same-sex kiss on the big screen. Not to mention, seeing Gong Myung and Shin Jae-Ha, Yoo Young and Jung Hye-In, popular actors and actresses known for their appearances in Korean dramas alongside their on-screen partners of the opposite sex, was a complete surprise to me. At least for me, seeing homosexual representation in Korean cinema through Futureless Things was a first that was executed without bias and/or detrimental implications that would further worsen the negative stance of the majority on the subject matter.

outh Korea being a nation lacking progressive ideals regarding homosexuality and same-sex marriage, I must say that Futureless Things by Kim Kyung-Mook is the first time I’ve seen two individual of the same-sex kiss on the big screen. Not to mention, seeing Gong Myung and Shin Jae-Ha, Yoo Young and Jung Hye-In, popular actors and actresses known for their appearances in Korean dramas alongside their on-screen partners of the opposite sex, was a complete surprise to me. At least for me, seeing homosexual representation in Korean cinema through Futureless Things was a first that was executed without bias and/or detrimental implications that would further worsen the negative stance of the majority on the subject matter.

Initially, I had expected an ordinary slice-of-life, or at the least bit, a light film (which to date, I don’t know why I still expect, seeing as the repertoire of films so far have been far from normal). Although, admittedly, going about the film, I struggled to understand the events that were unfolding at first. Futureless Things is a commentary on the lives led by store clerks whom we take for granted. The interactions between the convenience store clerks and each customer is seemingly fleeting and trivial—a give and take relationship purely functioning on the basis of fulfilling quick needs. I can go as far as saying as most teenagers my age barely spare a glance at these employees because I have seen it happen. Convenience store clerks encounter myriads of personalities each day, as depicted clearly in the film. In the case of There is a variety of strange and polite customers, with a frequent dash of racist and rude individuals who mainly judge blue-collar workers on the basis of culture, religion, political, and national contexts. Whether it be relationships of parasitism between the employee and boss, or tense dynamics between employee and customer, Kim Kyung-Mook explores the themes of one’s agency in his film. Quoted in one of the reviews released at the time of the film’s releases:

“An individual is unique and a being has free agency, but a thing is an object without life or consciousness. To be a thing you exist only as a tool for someone else. Kim makes it very clear in the film that everyone that sits behind the counter is merely a tool to be used and then thrown away” (Baylon, 2015).

True enough, portrayed flawlessly in the film is the cynic perspective that all relationships are born out of necessity. The convenience store clerks were not the only ones taken advantage of, and neither are they completely out of fault. As seen in the clerk who had a tendency to slack off and laze around during his shift, there was barely no sympathy and remorse given to the boss and owner of the store who was struggling to make ends meet. To worsen things, he was not even a corporate big shot who owned several franchises and branches of the convenience store chain. He was simply trying to make a living out of the society’s need for products on the instant, and even providing jobs for several minimum-wage workers in need of a job. Instead, it backfired on him, putting his name in debt and causing him to resort to suicide in order to save face. Personally, that scene was so heavy that it moved me to tears, seeing how much he had struggled in the past. Sadly, the lawyer’s plain absence of empathy in the face of an individual’s death—whether it relates to business or not—simply proves the prevalence of commodification in this day and age.

Works cited

Baylon, R. (2015, Feb 6). FUTURELESS THINGS: A Bright, Gleaming Comedy Well-Stocked With Laughs. Modern Korean Cinema. Retrieved http://www.modernkoreancinema.com/2015/02/review-futureless-things-bright.html

A review on Trainspotting by Danny Boyle – 172297

Trainspotting by English director Danny Boyle has definitely made its way up my list of favorite films of all-time. Upon first viewing of the film, the unabashed rawness of Boyle’s masterpiece kicked me quite in the gut. While the first few films viewed in class were all sort of peculiar, Trainspotting was a wild, untamed ride that kept me hooked in spite of the intense gore and violence, ceaseless smut and vulgarity, and the brazen portrayal of drug addiction. I would say that all the themes found in the movie are definitely not my cup of tea–had we not watched this in class, I would not have ever given this film a chance. However, I am also quick to say that simply judging the film by its disturbing scenes, without giving it much of a chance to redeem itself, would lead one to miss out on one of the greatest films of all-time.

Personally, I believe that what kept me fixated on the film’s story is the complete unreliability of Renton both as a narrator and a decent human being. He seems to have been provided by his parents with everything materially, coming from a relatively middle-class family, but nonetheless still chooses the life of a heroin addict. I must say, the pessimism Renton holds over life have been infuriating at times, considering how many shots he’s had at living a clean, drug-free life. With his parents’ constant support of sending him to rehabilitation, spending thousands of pounds to get him off drugs and heroin completely, coupled with his sporadic episodes of detoxification, it was difficult to comprehend Renton’s character as a whole. Firstly, he had exhibited a desire to get off the drugs; though clearly, it was easier said than done. Here, we understand the great complexities of drug addiction. While some might say that it comes as a choice, it is also important to acknowledge that they are victims of substance abuse that have destroyed millions of lives. Renton’s constant desire to turn his back on heroin is often trumped by the physical and mental struggle of needing the drugs back in his system—and the cycle repeats all over again.Moreover, Renton’s lack of judgment and taste in decent friends exerted heavy influence in his long-time struggle with heroin addiction. And to be fair, Renton is not the best person you could ask for a friend either. While his complexity as an individual frustrated me throughout the film’s duration, I believe that this is what makes him a great character. He rarely follows through with what he says and even deceives his friends without unabashed remorse; as in the case of having stolen Tommy and his girlfriend’s sex tape, leading to a bad breakup which had left Tommy distraught. Instead of dissuading Tommy from resorting to heroin use as a temporary escape from his emotional grief, I would go as far as saying that Renton had enabled his friend’s drug abuse. To put salt on the wound, Tommy was the most decent and respectable one out of his friend group–living a comparably healthier lifestyle than his peers who were heavy users of narcotics. He did not partake in the life of crime and theft his friends lived, but all this was washed down the drain. Due to his crippling drug abuse and his contraction of HIV/AIDS, Tommy had lost all purpose in life brought about by the lack of a health and proper support system. On the other hand, ironically enough, Renton was now clean thanks to his parents’ assertiveness after his overdose which had nearly costed his life. But if there was something Renton had done right in his lifetime, it would probably be his decision to move to London and start with a new slate. If there was something he had done even better, it’d be his choice to take all the money with him and start anew.

A review of Hideaki Ano’s Shin Godzilla – 172297

Coming into the second film in the lineup, I had initially heard about rave reviews surrounding the Godzilla franchise starting from its 1954 Gojira origins, to the 2017 animation film. With its mass cult following, Shin Godzilla by Hideaki Ano is set in Tokyo Bay with an unidentified creature wreaking havoc across the districts of Tokyo. The news reaches the Office of the Prime Minister, leaving them to further investigate on the matter before releasing more information to the public–avoiding mass hysteria and panic. Rando Yaguchi, the Prime Minister’s Cabinet Secretary, suggests that it might be a living creature causing all the damage, but he is not believed until several teams of researchers are brought forth to verify such information.

However, as the government-hired researchers work hard on identifying the creature, it is revealed to have been able to stand up. Without much of an earlier heads-up and/or warnings from the government, the people of Tokyo’s Kamata district are unprepared for the destruction that the creature leaves in its wake as it navigates through the urban area. All while time is wasted in confirming and determining the information to be released to the public, the creature makes it away to land. This is a common theme observed throughout the film where, as Godzilla continues to inflict damage to the city, much of the time is spent by the governing body in meetings, following each and every step of the process thoroughly as the creature brings about chaos to society. Such may be considered as Japan’s value for the bureaucratic process, but to which, the public’s needs are compromised due to the painstakingly slow procedures to be followed. In the film, I had personally interpreted that such rigour and strict adherence to the process was made evident through the onslaught of static shots executed in Shin Godzilla’s cinematography. In terms of the film’s technicality, while the film’s overall aesthetic exuded that of elegance and grace in true Japanese fashion, Shin Godzilla was successful in using the audiovisuals elements of cinematography, storyline, and film scoring in furthering the message of bureaucracy even in the face of calamity. The execution had definitely kept me, as a viewer, frustrated at the system at hand, and the uncanny representation of society in the film.

Ultimately, I could not help but compare Japan’s first-world advancements to ours. While Japan “trusts the process” a bit too much, one might say that our national government has downright no respect for such due process, as seen in the thousands killed by the extrajudicial killings prevalent in contemporary Philippine society. Even though such bureaucratic procedures are long-drawn-out, in my belief, I would rather have leaders who possess good decision-making skills and leadership in the midst of pressure and adversity–a far cry from our own national clowns disguised as politicians.

A Review on Steven Soderbergh’s Schizopolis – 172297

As aspiring filmmakers and members of the film industry, I believe that one must keep an open mind before anything else — with the first step being ready to watch films beyond an individual’s established niche in order to extensively grow in this field. I realized, however, having encountered such situation with Steven Soderbergh’s Schizopolis, that this is rather easier said than done. Choosing to leave one’s comfort zone is an act of courage and bravery. By subjecting yourself to such movies in the name of art, I believe that whoever does this is really willing to learn more about the language of film. I am not that type of person.

Schizopolis was a testament to my detrimental habit of automatically shooting down films that I struggle to understand. Admittedly, I was at first skeptical of the film—its premise not exactly my cup of tea to begin with. Schizopolis features the story of Fletcher Munson, a white-collar worker living a life so nonsensical that his daily conversations render futile. Munson’s relationship with his wife is further exacerbated when co-worker Lester Richards passes away, leaving Fletcher to take his job upon his boss’ orders. To complicate things just a tad bit more, a doppelganger is brought into the picture, alongside an exterminator who speaks his own vernacular. Admittedly, I found the film’s storyline hard to follow, having been painstakingly segmented into three parts. Not to mention, the dialogue (specifically, the use of shorthand in most scenes with Munson and his wife) was also a factor that had contributed to my difficulty in understanding the events that transpired throughout the film.

Coming into COM 111, I had already briefed myself to have an open mind about the selection of films to be showed in class. In order to branch out and diversify the skills under my wing, I have to be versatile and learn how to tackle a variety of films — not just what I am used to. As much as I would love to accept and view all the movies in the market, I am the type to quickly disregard a movie if its plot, or some elements/aspects of the film make me uncomfortable in any way. I would barely spare it another glance, unless I had already paid for my ticket, or it was a necessary viewing for class. In other instances, I would not have even given such movies a chance in the first place if I had already heard bad reviews about it, or rumors regarding its content. This, however, is detrimental and a threat to my development/knowledge in film because before I could even learn about something, it is automatically shut down. In fear of having to watch films that make me uncomfortable or sad, I miss out on overall good/exceptional films with a few gory themes due to my blatant bias and ignorance towards films that do not suit my palate. The film, as we all have observed, does not beg to be understood; but rather, appreciated given its experimental nature. While I cannot wholeheartedly admit that Schizopolis is a film that I understood, or enjoyed in the least bit, I would at least like to commend the bravery Soderbergh had exerted in creating such a film. The innate artistry, blatant complexity, and overall courage in experimentation is what truly makes Schizopolis a Soderbergh film.