This film has the gift of nuance and the fact that it lacks a dramatic edge makes it a film that is told the way it should be lived. A life brimming with the ghosts of the protagonist’s past seeping through his present. This consciousness, of the protagonist’s relationship with the great love of his life, is painted so vividly. That from the start of the film, the motif exists in perfect reflection with the end. It feels so close to the heart as if the fear of taking your eyes off the screen and missing even a single second would drown you.
Nobuhiro Suwa discovers childish wonder, melancholy, and serenity and holds each in balance. It’s in keeping with the cinematography, the dialogue, and the subplots. The significance of each character is felt rather than just seen through the life of another. Jean-Pierre Leaud remains true to his atmosphere effortlessly till the end. He emanates such fluidity in this role, an actor questioning the role of death and his playing it.
To watch it is to understand the truth in simplicity and the simplicity in truth. It’s about returning to what feels real, love, and home. And walking away from it as if you’re a process of nature; a passing cloud out of many – to let the light through.
I believe that this isn’t my only review of the film. It comprises of many petals, just like a flower. I’d like to not pick them all at once.