Stereo Future

another movie where there are no characters but things that just look interesting. unfortunate unless you are at a museum the "pretty pictures" dont deserve your attention for an hour 50 minutes. okay so it tried also to be a comedy but i didnt even come close to laughing.

This film seems to be a kind of love affair with certain aspects of Japanese culture, with a prominent environmental theme thrown in. There are also recurring vignettes about the shooting of a samurai film, an American guy meeting the stunning Eri (Akiko Monou) who is dumb (cannot speak). Some of this film is lush and beautiful, some parts are just stunningly photographed. While the characters are strangely interwoven, its still an interesting though non-mainstream film. There are the obligatory scenes with trains and a little bit of madness, which turned out to be funny. One of the things I liked about this film was its central message, about being part of the world. Not for mainstream viewers, be a little adventurous and watch it. I liked it.

Finding hidden gems in generally rich Japanese cinema is becoming more and more rewarding each time, it seems. Not that there aren't enough crafty, internationally successful releases to indulge myself in, it just never gets tiring to find certain films that for some reason didn't quite cross over to a broader audience.

From the reviews and pictures I had a pretty good idea of what type of film this would be. It starts out with pleasant scenery and reoccurring soothing music, reminiscent of All About Lily Chou-Chou, and surprisingly mixes that with more edgy tunes to suit the moments. The way it circulates bunch of characters who are connected to each other reminded me of Survive Stye 5+. Ultimately when you are presented with such a character cycle, you will either enjoy the entire experience or crave more from a specific situation. Unfortunately for the most part I fell under the spell of the latter.

First half of the film provides a typical strain of scenes that seem to be floating on thin air with good music and visuals, but still promising a gradual aim toward a climatic resolution. normally with such films, expectancy of overly cohesive actions and consequences should be kept at a reasonable level, since it's rather difficult for some story tellers to create highly emotional situations while at the same time maintaining hyperactive surrealism. But just when you think the film will fully embody melancholy, it comes out with wacky comedy and action sequences. With stylish camera work they are performed smoothly, proving good entertainment and enjoyable diversity. Perhaps I was mesmerized by Akiko Monou's beauty and equally strong subtlety, little disappointed by the harmlessness of Masatoshi Nagase's con friends, that in the end I wished for the story to have dealt more with romance and how the two leading characters handled the separation and ultimately the revival of their unique relationship.

Even though the outcome of the film didn't get to me the way it intended to, I found the little subplots and situations quite entertaining and worthwhile. However, there are other films that have tackled same style of artistry and storytelling by delivering more thrilling characters and stronger premises with lasting effects. Still, don't let this serve as a discouragement, because in the end, Stereo Future has more going for it than most of the mainstream throwaway films with predictable and unimaginative content.

I have to disagree with the previous comments, as I in fact both enjoyed the film and laughed. I must say this could be because I went into it expecting nothing and have fallen out of touch of current Japanese movies. So what I am saying with this last point is, maybe this is something (at least in style) that has been made of late.

This aside, I think what really captured me was the blend of visuals, the samurai sequences and soundtrack. I found some of the writing forced, particularly with the Danny character (the nature guy), he seemed too young, or the writing too overdone for part. Perhaps it was the script that was weak, but the performers (particularly the Japanese leads) that were able to gain a greater understanding of the writing. I don't mean to knock the lone-non-Japanese in the film, he did a fine job when compared with other Japanese films written for non-Japanese characters.

But I suppose a movie has to be more than just visual and audio. And while I agree and hour and 50 min. was a little long for this film, there is a spirit or heart that is within it that I think asks (if not demands) the viewer put aside a few of its flaws and give into this artistically-done popcorn film.

Those are my thoughts ... for now.

While a time reduction of 15 minutes or so might have benefited this film, I greatly appreciated the overall naturalist flow, the diversity of characters - an arty but near real-life experience - with fine polish and beautiful cinematography. It's a bit like Renoir's "Une Partie de Campagne", but enlarged to a greater layering of subjects, characters and love-relationships ("ren-ai monogatari").

Actor Masatoshi Nagase has had the sublime fortune to lead in some creative, delightful, fun films. Here again, as in the Maiku Hama trilogy, he suffers some all-too-human hard moments - arguably in a Chaplinesque spirit - but like in Modern Times, in this one he ends up with a girl (though I won't tell you which one), though no richer financially. I just wish more like this were available in the U.S.