Symbol

I saw this movie at the Brussels Fantastic Film Festival, and I loved it!

In retrospect, I could have ended up hating it just as well!

Shinboru is a very odd situational comedy. It's silly yet artsy, thoughtful in parts, anarchic in its delivery and overall nuts. To this day, I have no idea what it was about, its meaning, what it's meant to *symbolize*.

I enjoyed it immensely, though, and found it especially hilarious with the geeky festival crowd commenting irreverently at the screen. It might not be as fun if you're watching it alone in your living room.

There's no mention on who the director/ lead actor Hitoshi Matsumoto is in the other reviews, which may help prospective viewers to decide if they want to see this unique film or not. Matsumoto is one half of the arguably most famous Japanese comedy duo 'Downtown'. Their style is called 'manzai', that is one guy says a lot of stupid stuff and the other butts in all the time to correct him; you may have seen this in the background of some films by Kitano, who started his career in 'manzai' as well.

If you know that type of comedy, the otherwise completely non-sequitur style of 'Symbol' won't necessarily come as such a surprise, because the whole idea of 'manzai' is to baffle the audience by pushing nonsense as far as it can go. Since Matsumoto's part is the 'boke' AKA nitwit, it's pretty much in his line to come up with the most far-fetched, senseless and weirdest story angles imaginable - after all he's been doing this on TV since 1983! The ridiculous wig he's wearing in the film is actually part of his TV antics - I remember him wobbling around with it whenever he got an idea, pretty much like what he's doing here.

What surprised me though is that 'Symbol' has excellent production values, unlike his debut 'Big Man Japan' which suffered from very bad CGI (which may have been on purpose though). Here the visuals look so well done that I can't help but wonder about the budget. Another surprise unmentioned in the other reviews: there's an appearance by 'Kiss'! Other than that, I can only confirm what everyone else said: you may love it, you may hate it, that depends on how much you can forget about any expectations you have.

I'm baffled. You meet this kind of movie only very rarely.

It defies attempts to categorize it. It destroys your preconceptions of what a "special" movie might be. There's slapstick and there's nonsense and there's meta babbling, except its wordless meta babbling. Also there's angel penises, like a lot of them. Seriously, this movie weirded me out.

In itself the story moves in a pretty straight line. Well, two straight lines. There's the wrestler plot, and there's the white room plot. The wrestler plot is utterly forgettable and, frankly, quite boring. It just functions as the opposite of the white room. One of many incarnations of what opposite could mean in this case.

The white room plot centers on a man trying to get out of the white room. Simple right? Pressing the angels penises (You heard me!) reveals certain, seemingly random, objects. In combination they might lead to an escape. Here the movie really shines. Through sometimes silly, sometimes clever trial and error means the protagonist starts coming up with an escape plan. I found myself thinking along with him (and normally being way ahead of him and getting frustrated with him... JUST USE THE POT!!!).

In the end the two story lines meet to give the audience a bigger picture. The ending still came as a surprise, although, in hindsight, it makes complete sense. It leaves only one question, but I came up with an answer immediately. I think thats how its supposed to be. Not everyones answer will be the same, but there will be one. Perfect example of closure without closure.

Watch this if you like to see special things, don't finish watching it if you're bored after the first white room scene. It probably won't be the movie for you.

9/10

I subtracted one star because the effects in the final scene were so crappy that they really distracted me from fully enjoying the ending but that's probably just me and other people working in that field themselves. Nothing to cry over really.

How can I explain such a simple yet complex film such as Symbol? It's not easy, but I'll give it a try.

Symbol see-saws between two stories and is shown in three chapters which are labeled Education, Implementation and Future. There's the story of an out-of-shape Mexican wrestler known as "Escargot Man" as he prepares for a title fight in some tiny dusty little village. And simultaneously, there's the story being told of a Japanese man who awakes to find himself in a large, all white rectangular room with no doors or windows.

Just how are these two stories connected? The answer is an existential journey into the energizing and inventive script of Matsumoto. For those who have seen his first feature Big Man Japan, in where a solitary middle-aged man periodically transforms into a giant to defend Japan from an array of monsters, you might have a little clue as to what you're getting into with Symbol. Let me assure you right now that Symbol is definitely its own monster, and perhaps one that will make both fans and newcomers to Matsumoto's work say WTF.

Perhaps the best film I could compare Symbol to would be Stanley Kubrick's sci-fi masterpiece, 2001: A Space Odyssey. Yes, it's a bold comparison, but an apt one as well. Just substitute Kubrick's towering monolith and epic wormhole sequence for Hitoshi Matsumoto's room full of baby penises and a penis wall climbing ascent into the future and you're basically looking at the same film.

Challenges many of the most basic philosophical assumptions about god, heaven, and hell. If you ever wondered about your own impact on others and your ability to do good works.. Or wondered if god could evolve eventually, there is so much to chew on. Imagery as diverse as clowns, Mexican wrestling, and the symbols of Japanese culture flutter as butterfly wings with the strobe and flicker of film infecting NOT only as genius can from the other side of the planet. The layering of thought and ideas is very satisfying compared to typical American films. I am not surprised that all but one of the reviews even gave an accurate summary. This can be a complex film, but not necessarily. A creative child couldn't help being charmed by the poetic surface of action and color. A stunning treat.