the storms are on the ocean
shin kishida's director figure - balding and limping at age 32, coercive, deluded, and self-justifying - might be the single most repulsive figure in the history of self reflexive films about the exploitative power imbalances in filmmaking (and there are many runners up).
grasping at straws at the end of the world.
at one point a young man takes his sick to the point of dying friend to the hot baths, picks him up in his arms like a child and carries him to the window, opens the window and a burst of vicious cold rolls into the frame like Winter would be personified in an old fleischer's cartoon.
not sure at all what to make of this but tatsumi kumashiro's rejection of interiority for pure, weird physicality and landscape is really something.
jauja is often but not always about a man trying to walk through a landscape without falling, although he ends up falling often.
jauja is a film for people who love horses and dogs.
the horizon in jauja rarely dominates, it is a landscape film where the screen is most often dominated by tall grass, rocks, dirt, still water, rocks. in one of the central moments the night sky dominates the frame, but in that shot the central figure is…