Still Walking
Japan, 2008, 114 minutes
Director: Hirokazu Kore-eda
“These days, we’re not abnormal,” so says the returning son in Kore-eda’s film about family bond challenged by the pressure to maintain normalcy when things don’t go according to plan, leading to many of life’s regrets. By tackling the issue of mortality, the title Still Walking becomes a sad but hopeful ode to our memories of loved ones.
Though rekindling the feel of Ozu’s casual family relationships like Good Morning, this is really a modern deconstruction of such old-timey decency. Through subtle hints and late revelations, we learn of the kinks and quirks of this otherwise ordinary family. There are no big dramatic blowouts, just the lingering effects, which the script succeeds in making just as compelling, if not more affecting.
Hooked
Romania/France, 2008, 80 minutes
Director: Adrian Sitaru
Shot entirely through POV shots, Hooked may have been annoying to endure at first, in the same way the first act of Blair Witch was. The hook (ahem) comes when our lovers-on-a-picnic accidentally hit a roadside prostitute. While attempting to bury the body, she suddenly wakes up and asks to join their picnic. Can’t really say no, no? Bully for the lovers, their picnic is ruined by her meddling in their not-so-wholesome love life. The POV gimmick is likely to be the result of that adage—you know, about needing a new perspective and all that. We see the film only through the eyes of the two lovers as they butt heads on seemingly every discussion they have, representing a clash of perspective—until the hooker shows up.
The convincing performances and intriguing roundabout dialogue help sell the concept, but when it has a hard time finding enough circumstance to justify the feature length, you can feel it beginning to drag. Especially since the characters stay rigid in their convictions. The guy is mellow and noble throughout, the girl is paranoid and vindictive throughout, the hooker is cheery and pesky throughout... There’s also a john that shows up out of nowhere and serves no purpose whatsoever in the film’s relationship examination. Once all the basic couples issues are laid out, there’s not much else to keep the film from being tiresome.
