5. The Falls (Chung Mong-hong, Taiwan)
Chung Mong-hong, as usual, does a number of very smart things with his movie. The first one is the way he uses the pandemic and the quarantine measures as a metaphor for the strained relationship between mother and daughter, with the mask and the seclusion Xiao Jing imposes on herself, but also essentially on her mother, highlighting this approach in the best fashion. That fact that the quarantine, however, also has actual implications is also showcased here, but Chung seems to suggest that the pandemic did not exactly create new psychological issues (apart from the undeniable physical and logistical ones) but essentially intensified those that pre-existed, in a rather ingenious approach to the whole concept. At the same time, he also shows how even the consequences can result in something good, by bringing families together, allowing their members to get to know each other in a way they did not before, and essentially, realize their feelings for each other. (Panos Kotzathanasis)
4. Limbo (Soi Cheang, Hong Kong)
Granted, the misogynistic tendencies of the classic exploitation films (where women were getting violently punished in any opportunity possible) are also here, and one could interpret the identity of the killer as racist. However, these aspects are actually lost in impressive amalgam Cheang creates, while the firsts aspect is eventually toned down by the way the story unfolds. “Limbo” is an exceptional combination of elements that form great genre cinema, and one of the best action/crime thrillers we have seen recently. (Panos Kotzathanasis)
3. Memoria (Apichatapong Weerasethakul, Thailand)
On the appearance and the production structure levels, “Memoria” might seem as a bit of departure from Apichatapong Weerasethakul's usual environment, but on the topical and craft level, it is not. It can be considered more of an expansion than a recontextualization. It is a new page in his career, but the page is from the same book. The end result is pretty much spot-on. (Marko Stojiljković)
2. Wheel of Fortune and Fantasy (Ryusuke Hamaguchi, Japan)
Coincidence and its impact and consequences emerge as a focal point for the whole movie, with Hamaguchi using the concept to present a number of rather interesting social comments. The main trait of the film, however, is the dialogues, both in context and delivery, with Hamaguchi implementing a rather minimalist approach in all production values in order to allow the viewer to focus on what the protagonists are saying. The difference in rhythm, with the first segment exhibiting the highest speed and the last the slower, also allows for a very interesting differentiation between the parts. “Wheel of Fortune and Fantasy” highlights once more, its filmmaker's intimate knowledge of the human psyche, and the rather original and intelligent cinematic way he has come up with in order to present its various aspects. (Panos Kotzathanasis)
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1. Drive My Car (Ryusuke Hamaguchi, Japan)
Hamaguchi's captivating script for this 3-hour film strongly relies on dialogues and actors' performances. Excellent Hidetoshi Nishijima and Toko Miura, respectively as Yasuke and Misaki, had the more difficult task of conveying their characters' introversion and the silent way they both keep living with a secret buried in their hearts. Little gestures are keys. When Yusuke stops and observes Misaki from a distance, folding with extreme care the car's cover, he is hit by the thought that someone is taking care of him and it's a strangely enjoyable feeling. And again, them enjoying a cigarette, both hands up and out of the sunroof, on their journey ahead. Their severe postures beautifully melt in the final, cathartic revelation. The secondary roles are all well performed, a special mention to Reika Kirishima in the enigmatic role of Oto and Yoo-rim Park, playing the mute Korean actress and former dancer playing Sonya in Yasuke's production and delivering her moving famous monologue in Korean sign language. The photography is pleasantly crisp, highlighting the bright red SAAB from Tokyo to Hiroshima to Hokkaido, and the pillowy score is discreet and apt. (Adriana Rosati)
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