Greetings again from the darkness. If you are a fan of little films that seem quiet on the surface but deep down have jarring tremors of emotions, then this 3 hour art-house gem from Japanese writer-director Ryusuke Hamaguchi is a must-see. The director, along with co-writer Takamasa Oe, adapted the script from the short story by Haruki Murakami, part of his “Men Without Women” collection. The story revolves around Russian playwright Anton Chekhov’s “Uncle Vanya”.
In what may be the longest prologue in cinematic history, the opening credits finally roll about 35-40 minutes in. But that first segment is absolutely terrific. Yusuke Kafuku (played by Hidetoshi Nishijima) is a stage actor and director married to playwright and TV series writer Oto (Reika Kirishima). Their long relationship is bound by their love for each other despite the loss of a child many years earlier. Oh yes, there is one thing. Oto’s creative juices flow best during and after sex. The intimate moments are filled with story ideas that she bounces off her partner. These conversations may continue over meals or during a car ride, but they always begin during the throes of passion.
Husband Kafuku has come to accept these terms, and beyond that, he’s learned that Oto’s infidelities are a continuing of her creative process. Because of this, he says nothing when walking in at a most inopportune time – Oto is ‘creating’ while in the arms of rising star Koji Takatsuki (Masaki Okada). Kafuku elects to remain silent on the issue and allow Oto to have her way. Just when it seems the married couple might address the unspoken, an unexpected tragedy strikes. Each scene to this point has been meticulously crafted and acted. We know these people and feel the connections.
Flash forward two years, and Kafuku has been contracted by a Hiroshima theater group to direct a production of the ‘Vanya’ play for which he’s well known for his acting. He chooses not to cast himself due to the stress the role puts on him … one that forces the actor to face ‘the real you’ and the missed opportunities in life. Instead he puts together a multi-cultural, multi-language cast, including one actor who speaks only Korean sign language. And yes, the actor he chooses to play his Vanya role is Koji, the same actor he previously witnessed with his wife.
Koji has been a lost soul the past couple of years, and he claims it’s Oto who brought him and Kafuku together. A key element here is that Kafuku’s contract with the theater group requires him to accept Misaki (Toko Miura) as the chauffeur of his beloved, always spotless red Saab. During the hour long drives, Kafuku recites his familiar lines of dialogue in conjunction with a recorded tape of Oto reading opposite. It’s his way of keeping her close, yet this also assists with the warming of the relationship between him and his driver Misaki. Both are stoic individuals who keep their emotions hidden under a mask of self-control. It’s fascinating to see the bond slowly develop.
It’s actually Misaki’s backstory that means the most here. It’s a reminder to Kafuku (and us) that every person’s life has a certain complexity that we likely have no window into. The building of this bond actually begins a mutual healing of personal pain previously held inside. It’s also a stark reminder of the difference between these characters and many Americans who barely delay in laying bare their soul on social media. The play’s cast varies in age and background and language, but their collaboration, as well as the connectivity between Kafuku and Misaki are the central theme here. This may be best exemplified by the large video screen above the stage presentation, where the subtitles are displayed in multiple languages. A brilliant touch to an excellent film.
Currently playing in a limited theatrical release.
Posted by David Ferguson 
Greetings again from the darkness. Don’t mess with the smart ones, as brains often outlast brawn. I’m conflicted on how best to describe this film. Perhaps … It’s nuanced storytelling at its finest. Jane Campion won an original screenplay Oscar for THE PIANO (1993), while also becoming only the second woman to receive a nomination as Best Director. This is her 8th feature film to direct, and the first since the underrated BRIGHT STAR (2009). Ms. Campion is such a smooth filmmaker, and her latest is so expertly crafted and so beautifully filmed, that some may find themselves not recognizing the underlying tension between characters. I urge you to remain diligent and take note of the subtle gestures and facial expressions, as the emotions run deep.
Greetings again from the darkness. Filmmaker Paul Verhoeven has long made his cinematic living on the fringes: the brutality of the Middle Ages in FLESH + BLOOD (1985), the violence and thirst for power through technology in ROBOCOP (1987), the buried dark side (and other uses of ice picks) of our personality in BASIC INSTINCT (1992), more thirst for power combined with a baffling lack of sex appeal in SHOWGIRLS (1995), and the unbridled desire for revenge in ELLE (2016). This latest displays his mastery of ‘nun-on-nun’ eroticism and the duplicity of religious faith. Verhoeven’s usual goal is to provoke, and along with his co-writer David Birke, this ‘based on true events’ story (adapted from the 1986 Judith C Brown book, “Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy”), is a natural fit.
Greetings again from the darkness. This is Mexico’s official Oscar submission for 2021 Best International Feature Film. Written and directed by Tatiana Huezo (her first narrative feature), the story is adapted from the 2014 best-selling novel by Jennifer Clement. It’s an unusual film that lacks a traditional plot, and instead focuses on the daily lives within a small village in Mexico.
Greetings again from the darkness. The symphonic crescendo of Maurice Ravel’s “Bolero” is perfectly synched with this film’s crescendo, creating a heart-racing, frantic few moments of passion, lust, revelation, and shock – for both the characters and viewers. Also shocking is discovering that this is writer-director Gabriele Fabbro’s first feature length narrative film (after many shorts and videos). This is expert filmmaking and creative storytelling that harkens back to classic 1970’s cinema in a time when it’s certainly needed and appreciated.
Greetings again from the darkness. Sometimes what we see on screen doesn’t tell the whole story about a movie. Writer-director Kazuya Murayama delivers his first feature film, and it’s based on the true story of a 1992 murder in Japan. Not only did Murayama fund the making of this film (there is no producer or Production Company), but the murder took place in the town where he was growing up … and in the same park where he often played.
Greetings again from the darkness. This compelling film is the debut narrative feature film from co-writers and co-directors Adam Sjoberg and Seanne Winslow. Filmed on location in Oman (not sure I’ve ever seen another filmed there), it’s based on a true story and features first time actors in the key roles.
Greetings again from the darkness. After watching the trailer, I settled in for what I expected to be a traditional French farce, always a welcome relief from the usual festival heaviness. While I can’t say the trailer is misleading – all of the scenes are present in the movie – it’s just that writer-director Stevan Lee Mraovitch has delivered more of a dark comedy with a message than a laugh-a-minute joy ride in his feature film debut.
Greetings again from the darkness. The opening sequence is surreal and a bit creepy, and with it, first time director Valdimar Johannsson accomplishes a couple of things. First, we witness the rugged beauty of rural Iceland, and second, he sets us up for a bizarre tale, as we follow a heavy-breathing unseen creature (or being) that frightens some wild horses before making its way into the sheep pen. Johannsson co-wrote the script with Sjon, the renowned Icelandic novelist, poet, screenwriter, songwriter, and composer.
Greetings again from the darkness. German filmmaker Christian Petzold has a track record of creating thought-provoking, intelligent, and ambitious films such as 
Movie Reviews from the Dark 