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TrueFilm: An in-depth discussion of film

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Posted by23 hours ago

This articloe has a whole bunch of bright beautiful film stills. For a fully illustrat6ed version click here - https://filmofileshideout.com/archives/hiroyuki-imaishis-dead-leaves-a-visual-assault-on-your-sanity/

Dead leaves is the very definition of style over substance but don't let that stop you from seeing it. The style is so compelling you wont miss the substance. The imagery, the animation, the frantic, non-stop action is mesmerizing. Story arc shmory shmarc sometimes you just gotta let the animators run wild. Dead Leaves is only 55 minutes long but it has enough action to fill 10 movies. It was directed by Hiroyuki Imaishi who specializes in fast paced, hyper-stylized animation.

There is a mixture of art styles including a slick and strange sort of art deco abstraction with lots of bold straight lines against flowing organic shapes. There is also a more traditional comic book noir style with pure black shadows and sharp shapes of color. There are anime tropes like spilt screens, motion lines, and extreme close ups. It’s all an exuberant firehose of assorted imagery. There is a science fiction narrative somewhere under all the explosions and screaming. The two protagonists, Pandy and Retro begin the film with amnesia and slowly come to realize that they are a pair of mutant spies who have escaped from a prison on the moon. Their backstory comes to them in random flashes that mix in with action. Then, slapped on top of that, is a coded symbolic prophecy that wheedles it’s way into the fray like a reoccurring dream. The story is as jumbled and chaotic as the images and together they fuel the relentless pace.

There’s sex too, and fortunately it isn’t the traditional anime fare where a thin and pale waif of a woman is ravaged by a muscle-bound, macho asshole. The sex in Dead Leaves is mostly played for humor. The two protagonists go at it while both of them are bound in straight jackets. There are lots of dick jokes and fart jokes and semen squirting jokes and a guy with a giant drill bit for a penis. It’s all just part of the onslaught. As a result of Pandy and Retro’s awkward tussle Pandy gets pregnant. Later when she is in the middle of a fight, a tiny hand, holding a giant pistol, emerges from her nether regions and blows her opponent away. It’s a lot to take in. Dead Leaves was released in 2004 by Manga Entertainment and Production I.G . It doesn’t come from a manga or television series, it’s a one off ejaculation of creativity. It would be very difficult to sustain such an anime over numerous episodes. The closest thing would be Imaishi’s Panty and Stocking with Garterbelt, an adult television series that follows two fallen angel, anarchist, sisters named, Panty and Stocking who fuck, kill and make snarky comments like some deranged henatai version of the Power Puff Girls.

One of the strengths of the anime genre is it’s variety. Personally what I look for are directors who find interesting ways to use the medium. Dead Leaves couldn’t work as a live action film. I suppose with a billion dollar budget and a ton of CGI you could get close but animation allows an artist a fluid medium where 2 dimensional images can freely exist along side 3 dimensional ones, along with text and movement to create a uniquely dynamic arena. Above all Dead Leaves is a tour de force of craft. Its virtuosity isn’t expressed in story telling or character development, but in a mastery of rendering, composition, movement and timing.

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Posted by1 day ago

Past Lives is an entrancing film. On the surface, it is the story of a love triangle between its captivating lead acting trio, but on a deeper level, it is a delicate and aching meditation on the power of romantic narratives. The score's gorgeous piano notes and the mesmerizing cinematography create the perfect atmospheric backdrop for the exploration of these themes.

Hae Sung, Nora's childhood crush from Korea, is humble and emotionally vulnerable, characterized by his devotion to Nora. Nora's current husband Arthur is a tragic figure, plagued by the realization that he cannot live up to the powerful romantic narrative embodied by Hae Sung. Nora herself is the most complex. As a child, she is not a very sympathetic figure, since she seems self-possessed and does not show much care for Hae Sung when leaving him. As an adult, she arguably continues to lead him on and also is ineffective at reassuring Arthur. But she becomes a much more sympathetic character who means well and genuinely cares about both of them.

The two men are essentially archetypes used to probe the film's questions about the nature of love. The film's only major weakness is that it is singularly focused on its exploration of these questions, otherwise only thinly sketching its characters. We learn little to nothing, for example, about the years that Nora and Arthur spend together. But its dissertation on its themes is masterfully written. Hae Sung represents the fairy tale dream, a bond built from the roots and from years of longing. Arthur represents the realities of who Nora has become - after so many years together with him, their compatibility has been forged almost metaphysically through the power of in-yeon. The movie shows that we can hold onto the reality of Nora and Arthur's practical compatibility as a loving couple, while also cherishing the wistfulness and sentimentalism of Nora's history with Hae Sung. Ultimately, the allure of Nora and Hae Sung is rooted in their story and their childhood connection, and Nora can still hold onto that meaningful story and childhood connection as she moves on in her life with Arthur.

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