Perfect Days

The film starts slow, but that's the point. We start to know a dedicated Tokyo toilet cleaner who goes through his daily routine, apparently happy with his life. Then a series of minor events cause upheaval: his colleagues, family, and romantic interest remind him of life's missed opportunities. All very subtle reminders that you can be perfectly happy in a bland life following your daily routine, but that life's circumstances are forever changing, and are inviting and challenging you to lead life on a higher, more interesting level. The closing shot reveals a clearly emotional toilet cleaner driving to work: life's new opportunities have unsettled him. The open ending leaves us wondering what's next. A great movie that is largely carried by the phenomenal Koji Yashuko: he superbly carries the story with his facial expressions between the extremely sparse dialogues. The cinematography by Franz Lustig is also incredibly good: the closing scene, the loving lighting of the numerous toilets, etc. I'd rate it higher but the film is vaguely unsatisfying in its sublety: it generates the itch but just barely scratches it. But definitely one of the best films of 2023.

Years ago i took my friend's daughter to see a movie adaptation of 'the secret garden' because i wanted to share a book i had loved as a child. When my mom asked what she thought of the movie, her response was 'mostly... it was about a garden.' well, 'perfect days' is mostly about a man who cleans toilets - albeit with extreme efficiency and thoroughness. He has a simple, well-ordered existence that follows a comfortable routine until people start inserting themselves into his life.

This is not an action-packed bombastic story, but you may find yourself thinking about your own life and envying someone who greets each new day with a smile. A well-deserved best actor prize for koji yakusho at the 2023 cannes film festival.

Greetings again from the darkness. For most folks, life is a constant battle each and every day as we attempt to avoid the chaos stemming from work, health, friends, family, and overall stress. Sometimes we kid ourselves into thinking we have things under control, but inevitably, a sharp reminder pops up letting us know "control" is a mirage, and life is meant to be more rollercoaster than smooth sailing. Longtime writer-director Wim Wenders and co-writer Takuma Takasaki have teamed up for this Oscar nominated film depicting one man's attempt to control his life.

Veteran actor Koji Yakusho stars as Hirayama. He's the proverbial creature of habit, which the first 45 minutes of the movie prove. We see him rise from sleep in his simple, well-organized apartment. He spritzes his plants, smiles at the sky, and drives his van to his job as a sanitation worker in the city. The logo on his jumpsuit is The Tokyo Toilet and we follow him on his rounds as he scrubs the public toilets ... each structure more artistic than the last. When he pauses for rest, Hirayama takes photos of trees with his camera. Taking pride in his work, this man of few words, has found serenity in his routine which includes nighttime reading (Faulkner, Koda, and even Patricia Highsmith). While driving his van, Hirayama utilizes his carefully selected collection of cassette tapes to provide the classic rock he loves (The Kinks, Lou Reed, etc).

Generational and personality differences are apparent when contrasting Hirayama and his young assistant Takashi (Tokio Emoto). As the elder works towards a job well done, Takashi plays on his phone, flirts with a girl, a strives only for a job done so that he can move on to the more enjoyable evenings. The two are not friends, but the elder does seem to understand the desires and anxiousness of the younger man. At night, Hirayama does his reading and then dreams ... visions we see in black and white, many which seem to relate to nature's beauty of the trees he photographs each day.

When one is so meticulous about the steps for each day, it takes little to shake his world. It could be the actions of his co-worker, a kiss on the cheek, a recurring homeless man in the park, and certainly, the arrival of his teenage niece after she runs away from home. When his sister arrives to take the girl back, we sense the strain in their relationship - something from the past that still lingers. It's these minor blips, along with an odd game of 'shadow tag' that shake Hirayama's routine and open him (back) up to life's ups and downs. At first, we believe Wenders is showing us the difference between alone and lonely, as this man seems quite content. But the final shot is of Hirayama's awakening and acceptance, or at least acknowledgment, of the emotions to be found in uncertainty. It's a wonderful film, beautifully directed, and expertly acted. "Perfect Day" by Lou Reed and "Feeling Good" by Nina Simone are two of the standout songs featured here.

In theaters beginning February 7, 2024.

I saw it as a kind of poem about happiness in fair, simple terms , as refuge against high expectations and social pressure, as precise portrait of the relation with the others.

I saw it, in same measure, as a sort of idealisation of life, moral lesson, fair portrait of lonely man and cold definition of truth..

Not less, I saw it as portrait of me, sure, in basic terms, with large slices of desire to real be.

But, out of this identification with Hirayama, Perfect Days has the gift to be a beautiful, admirable crafted, scene by scene, film. In essence, this is the real thing matters . Near the great music. A beautiful exploration by Wim Wenders of dreams of his audience , with some bovaric touch, about a life who was not him.

I have never seen a more authentic movie. This movie does whatever the hell it pleases. It's not here to live up to any expectations or to serve a specific purpose; no, it's here because it feels like it wants to be here, and we are fortunate enough to be included in its existence.

This film is about a man who truly lives in the moment without being some spiritual guru. He deals with whatever comes his way, the good, the bad and the ugly, and he welcomes it without words. That's because he doesn't need words. He doesn't need to analyze, remember or anticipate because "now is now". He accepts and embraces reality, finding joy in every little detail. But also not shying away from sorrow. But he never gets dramatic.

And that's why this movie is so unique. There is no plot, there is no past full of hurt, there is no goal, there is no desire. Yet, it was mesmerizing, and I was glued to the screen. I was blown away. It's a movie that will stick with me for a long time.