I found it difficult to get through this first part of "A Bride for Rip Van Winkle," which reminded me of the same unnerving cynicism that defines many of the best films of provocative arthouse dramatists like Lars von Trier, Michael Haneke, and even Sion Sono. But I found it harder still to progress past this point. We are, early on, gifted with a revelation that Nanami never receives: Amuro is playing with her, and every major event in her life after she meets Tetsuya is, in some way, orchestrated, or overseen by Amuro. But Nanami never seems aware, or interested in the myriad little coincidences, and odd changes in her life. What does she think about the fact that her circle of friends shrinks until it only include speople that Amuro introduces her to? How does she feel when she winds up living in a hotel because of his actions? And why doesn't she stop herself from becoming dependent on him for work, and companionship?
The answer to all of these questions seems to be a matter of perspective. Maybe Amuro is the personification of the shadowy, inescapable role that social media now plays in many of our lives. I guess he's like Facebook or Twitter in that he also encourages random acts of role-playing, and instantly normalizes alienation for the sake of greater social freedom. But no, wait, hang on: why then isn't Nanami's dependence on him the focus of the film? What exactly does it say about Nanami that she just gives so much of herself away without any consequences, or sign of introspective concern, or failure? And why, if this film is intended to be viewed as an allegory, does everything look so flat, and color-less? What does Iwai's mix of "mundane" style, and allegorical content actually say, or accomplish?
I left "A Bride for Rip Van Winkle" feeling like a group of talented filmmakers had taken advantage of me. Iwai's vision is so hyper-specific that I didn't recognize any truth, or reality in it. I am certain of a couple things though. I know that this movie made me feel bad. I suspect it's not a film I'm going to forget any time soon. And I fear that, every time I want to get closer to its mysteries, I'll realize that there's not much more to what's going on beyond its lavishly constructed, but substantially bewildering narrative. Nanami loses herself more and more as "A Bride of Rip Van Winkle" unfolds. You might also want to take a chance, and follow her for three hours. But I cant really recommend the experience.
ncG1vNJzZmivp6x7s7vGnqmempWnwW%2BvzqZmq52mnrK4v46aZJuqmZmybrLOq2SroaBiw6K6jLCgp6OcmnpzfJBw