appearing to be a lure, what future ought to be proves to be a fake ideal in bright future. the film neither criticises this nor affirms the present; instead, without any judgment, it experiments in little, flickering moments of human/more-than-human touch, which might be generative or paralyzing.
also, an extremely well depiction of the dullness of being at a table with people you have no common interest at all.
a meticulous visual language, striking absence of sound and a refined symmetry not only define the constant long takes and medium shots but also speak the protogonist's character in a nuanced way.
surprisingly, the coolest thing in the film is not alain delon but the framing and pace of the cross-examination scene in the police station.
a most remarkable opening and presence of a doctor's clinic.
not only the body's cavaties, glands, pores, and all find a resonance in the design of the doctor's strangest place but also the glass partition, immeasurable dimensions, and bodily figures and objects on the walls constantly fracture the bodies in that very space. for a film whose heart beats at the threshold of identity and the limits of the skin, the spatial choices speak volumes. (a post-war japanese architectural movement,…
