Fascinating debut of the talented duo of film director Reygadas and his Argentine cinematographer Diego Martinez Vignatti

My goal is to look after the creatures and not to hide them. What I create is the complexities that exist in the world. A person or thing can have a certain meaning within a movie but I don’t see them as having an innate sense of humor. When I say ‘tree’, you do not need to look at the tree because you have learned from childhood how to imagine the tree. In many media reports, objects — whether birds, human bodies, clouds, cars, or noise — exist as tools for storytelling. This is true of actors. This type of film does not allow the viewer to view the actors as real people in the world. Instead, the viewer sees the mask moving around with the garment and very decorative. My goal is to bring out the personality of each person or thing and to paint something. I do not want to paint a mask. This is why you see some of the bodies in the movies. If they are not ‘normal’ — whether they are thought to be old, ugly or obese — I would not care for them; all are human and all are equally beautiful. Drawing people the way they are is my way of showing respect.
—Carlos Reygadas, interviewed by Paul Dallas, in Supplementary Magazine (https://extraextramagazine.com/talk/carlos-reygadas-on-existence-the-flow-of-perception-and-the-feeling-of-being-embraced/)

AThe above statement reveals, Carlos Reygadas film Japón it’s different from movies its modern Mexican directors such as Guillermo del Toro (who made it Appearance of Water and Pan Labyrinth), Alfonso Cuaron (maker Rome
and Gravity), by Alejandro Gonzales Inarritu (who made it Birdman
and The Revenant), who won Oscars and recognition from people all over the world. They are as different as chalk and cheese. Not just Jap
ón coma All Reygadas movies, with real characters, some with a character or style that one would not associate with actors and actresses in commercial films. The characters chosen by Reygadas are similar to what the Italian film director Pier Paolo Pasolini (who made it) did. The Gospel According to Saint Matthew and non-actors, as opposed to Hollywood Bibles). Once again unlike their Mexican counterparts, Reygadas films are very limited in dialogue, emphasizing rather than sounds and visuals to communicate with viewers, mixing the inner thoughts of people with the physical appearance of animals, animals and the innocence of children. The entire film used actors for the first time and it is unlikely that the viewer will ever forget their faces. It was shot on a 16 mm anamorphic film using a 2.88: 1 slideshow and exploded. The results are astonishing because of such limited investment.

The disabled artist takes over rural Mexico
beauty: cacti, trees, mountains and river

Japón it is different from all the movies mentioned above for some reason. One, the name of an adult Japón it was never revealed. Viewers of the film know only that he is obviously disabled and needs a cane at all times. He gradually learns that he is an artist, that his wallet contains art, that he wants to commit suicide with the gun he is carrying and that he loves Shostakovich’s music (especially the composer’s music). 15 symphony) because you can hear it and that he is not religious, especially in the ordinary sense, because he says so much. He apparently traveled from Mexico City (the film’s first installment) to a well-selected rural area of ​​the country, where he is a foreigner and has no relation. How and why he chose the village was not revealed in the film. The viewer soon realizes that the artist is a man of few words, he sees more than just talking, even when he has spoken to her. Reygadas uses Shostakovich
15th symphony, which the actor in his film shares with a wealthy widow, using ear plugs, telling her that he could explain the song to her but in the end she does not, prompted the protagonist to investigate what was not explained.

The history of the song is just a story. Singer Shostakovich (film director Grigory Kozintsev’s best friend and partner King Lear and Hamlet) wrote the song – his last symphony – in memory of the Russian poet and filmmaker Yevgeny Yuvtuschenko on the suicide of a Russian philosopher Marina Tsvetaeva. Suicide and tragedy serve as the basis for Shostakovich’s writings, the artist listens to Japón. The artist is contemplating suicide while listening to the music.

Shostakovich’s songs are not the only songs that adorn this beautiful film that finds beauty in what most people would consider obscene (wrinkled faces), vulgar (poor and dirty, smelly, unsanitary people riding in the same car. Japón), or swearing (a misunderstanding and profound reverence for what another person considers to be worthy of worship), Reygadas uses two other composers and their own works to express his ideas. One is Johann Sebastian Bach The passion of St. Mathew and another two songs by Arvo Pärt of Estonia Miserere and Cantus in the Memory of Benjamin Britten. (The second part of Pärt is used as a follow-up trail with the Vignatti video camera touring the Mexican town away from the one-way river, and corpses and rocks from the barn surrounded around. A strange and sad way in this area.) Reygadas thanks Pärt at the end pake. Pärt’s songs are often included in the films Andrei Zvyagintsev, Terrence Malick, Michael Mann, Paolo Sorrentino, Pablo Larrain, and Leos Carax, among others.

Artist, religious skeptic ..
. . . and to ride upon a very religious widow,
who believe in caring for others and loving all

Fin fact, why the film is called “Japan,” many viewers ask if there is any connection with the country. Could it be hara-kiri? Or does the landscape of this remote Mexican village offer extraordinary beauty with all its stones, trees, and wreaths connecting with Japan in a mysterious way to suicide? When the artist wants to commit suicide, he sits on the ground where the horse is asleep. Is the artist famous? Is the picture book he is carrying in his bag relevant to him? No information was given in the film other than that he is happy that his prosperous widow found one of the characters in the book to be very good and wanted to reveal the artwork to him.

Based on stones and wood,
inanimate and living
Artist and child – children are important
in Reygadas films

Suicidal thoughts often trigger a secret sexual desire and a yearning to move on with life. His assistant, Ascen, is a widow much older than the artist and provides food and lodging in her stone barn where her dead husband slept. Ascen is a devout Catholic who explains to the artist that his name is associated with the ascension of Saint Mary as distinct from the ascension of Jesus Christ and offers to pray for the artist, while showing that he is not religious. But the bond develops and another experience demonstrates the artist’s physical confidence as he extends his hand to her and asks her to wash her clothes. That process of intimacy gradually develops into a physical and an artist.

After a suicide attempt, the artist is close by
a dead horse

Dead Ascen wearing an artist’s jacket,
“suicide” is a national, religious practice

A Ascen’s treacherous nephew to seize the stone barn to sell the stone, leads the artist to claim the barn as his own. Ascen does not oppose his nephew’s tactics. His journey to church / village madness and the shape of his body will seem like the last days of Jesus’ earthly life.

Japfrom he begins as a man who wants to end his life. Japfrom it ends with the miraculous acts of love and the celestial design of the ascension of the saints. Ascen, in the film, is portrayed as having a character close to Martha of the Gospels, for viewers who are familiar with the scriptures, lovingly providing food for the workers who are tearing down her storehouse and food for the guest under her roof, without question. Reygadas cannot be religious, excessively. Yet his films reflect the religious understanding (the biblical names of the characters in his films and the term “post tenebras lux” used as the title of the film and examples) that a few other film directors refer to.

Reygadas can and will confuse the purist, and that is illegal. Reygadas does this for a reason. If the bells suddenly fall off the table, the viewer will remember Tarkovsky Stalker where a glass of water falls on the table – but here Reygadas connects with the demolition of the barn, attracting the viewer’s attention to the ugly designs of those who think of themselves as collecting profits. Reygadas incorporates philosophy, politics, tribalism and the promotion of innocent children in his films, recalling the works of Tarkovsky, Paradjanov, Kozintsev, Kiesolwski, Olmi, Ruiz, Malick, and Kawase.

PS Japan only
won the Cannes movie theater but received major awards elsewhere: Bratislava International Film Festival, Best Director at International Thessaloniki and Edinburgh Awards, and Best First Work Award at the Havana International Film Festival and Audience Award at the Stockholm film festival. Reygadas films that came after him
Silent Light and After dark, light has already been highlighted on my blog. Kanemayo Japfrom instead of Reygadas After dark, light pa
Top 100 videos of authors list. Reygadas, to this author, is one of directors of 15 of the best films alive and active today.

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