I think what's so impressive about this film is how guilt, as it pertains to grief, is illustrated with such a mature, non-judgmental approach. Miwa Nishikawa has such an assured understanding of living, instilled with the recognition that we as individuals are never static but constantly evolving as we react and experience the external world. The central protagonists' journey to self-discovery is patiently crafted; Miwa Nishikawa trusts the audience to go on this journey with a character whose actions initially are born out of selfishness and exploitation more than notions of altruism. It's his guilt, not his grief that forces him to be performatively empathetic, and his evolution is ultimately deeply affecting. The interplay between him and this widowed, blue-collar father of two provides understated yet incisive investigations into social and economic status. Preconceptions related to class loom large, the monetary privilege he wields is transparent, yet as the film unfolds the film beautifully elucidates the social nature of being and the failings of such a lifestyle rooted in nothing more than self-fulfillment via fame and fortune. An effective melodrama that radiates warmth while not obfuscating the moral and ethical complexities of its primary characterization, The Long Excuse certainly sees Nishikawa draw from her mentor Kore-eda but the way she finds a sense of humor amongst the melancholy with assured authorship certainly stands on its own merits.
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AuthorLove of all things cinema brought me here. Archives
June 2023
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