In an attempt to leave Tokyo for an undisclosed location, 26-year-old salaryman Kanzaki (Kazuaki Nomura) solicits the help of a petty thief (Kono) to drive him in exchange for ¥1 million in cash. A minimalist road movie with grim undertones, “J005311” marks the directorial debut of actor-turned-director Hiroki Kono (Special Actors, JC2020).
J005311 is screening at Japan Cuts
In the absence of dialogue, moments can linger to create a sense of atmosphere, whether it be a moment to pause and contemplate the inner workings of a protagonist or build suspense for a moment that is about to come. Yet, Hiroki Kono takes this space and amps it to a perverse uncomfortableness with characters who barely speak or give a reason for their actions. Instead, the viewer becomes an observer of a stranger on a unique mission with no context of the reasoning behind it. It is a bold move that is as experimental in its approach as it is audacious to strip a film to the bare minimum. But bravado does not necessarily equal success, and “J005311” triumphs are hindered by its approach.
The production challenges the audience with a wall of silence that puts them in place as true outsiders to the unfolding events, giving them ample time to resonate with the uncomfortableness of what rests before them. The cinematography and presentation, stripped entirely of a score, will further challenge the focus around Kanzaki, seeing his form take up most of the screen for most of the duration. Consequently, the visceral reaction to the project feels wholly unique, pushing beyond the boundaries of most ‘slow burn' and ‘atmospheric' films to the point of unease.
Despite its minimalism, Hiroki Kono can still create two fascinating individuals whose interactions come down to minor gestures. This culminates in the closing moments, which will be left spoiler free, where the morality of each pushes for one last desperate action. It is a pleasant surprise how strong the personas of both characters come across despite the almost non-existent dialogue, thanks to the contemplative script and strong performances from both actors.
However, there is no denying that the radical minimalism ensures that the experience is drenched in tedium that only the most hardened cinephiles can dig deep and find value. Several lines are spoken across an hour and a half runtime, with the majority spent focusing on the characters traversing or co-existing in silence, which is the antithesis of riveting or engaging. If you asked objectively if “J005311” is a ‘good film,' the answer is a resounding no, but if you asked if the production is successful in its intent, the answer is a confident yes.
“J005311” will only resonate with a select few. Moreover, its approach leaves the question of where Hiroki Kono will go from his debut, as this formula should not be replicated as it will only diminish on repeat–it is not a film that will define his career as a filmmaker but an intriguing note to start on. Ultimately, the audience's willingness to participate in this experiment is critical to success. Moreover, even if the number desiring a crawling cinematic experience will be few, it does not negate the elements where the production excels–even in the face of extreme, nauseating tedium.
