Earlier in the month, I gave a sneak peek of the Japanese film The Forest of Love, directed by Sion Sono and available on Netflix. Now it's time for a good old-fashioned film review, and I'm excited to review one created by a filmmaker that I am quite fond of. Based on true events, The Forest of Love would be the final film by Sono for 2019 and marks another fine addition to an already lengthy filmography.
For those thinking that the title suggests a relaxing romance appropriate for a first date, you may want to look elsewhere. TFOL is a film that appeals to Sono's more violent aesthetic preferences and like classic Sono, doesn't shy away from the tough subject matter. The film opens with a news report of a serial killer in Tokyo murdering victims with stolen police guns. Moving from this, we meet two optimistic and aspiring filmmakers who decide to add a random busker to their merry group. Their new member is Shin, a young, small-town guy who came to Tokyo for new possibilities and is only too happy to make new friends and pursue their collective dream.
But when they find out that Shin is a virgin, they seek out the help of an acquaintance named Taeko, a tough-looking girl with blue hair, large boots and a cigarette between her fingers. While uninterested in helping Shin lose his virginity, she believes that an old school mate might be up to the task. Here the group is introduced to Mitsuko, a far more simple, shy and reserved young lady, suffering from the trauma brought on by the loss of a mutual high school friend. Taeko hopes that introducing Mitsuko to new people can snap her out of her funk and help her move on in life.
While the initial plan doesn't work, the film begins after this meeting, as Mitsuko receives a phonecall, one that will certainly change her life and represent the metaphorical first domino being knocked over causing quite the chain reaction. Mitsuko speaks to a stranger named Joe Murata, a man who claims that he owes her a small debt and would like to meet in person to repay it. While skeptical, Mitsuko humors this strange man and meets him in the park, only to be greatly taken aback by the very well dressed, confident and mature man who meets her. Joe Murata sweeps Mitsuko off her feet with his confidence and style, and their meeting develops into something more. However, once Taeko gains wind of these new ongoings, she comes to discover that she recognizes Joe as a confidence trickster and con artist who stole from her family under the pretense of wanting to get married to her sister. Taeko decides to throw herself into the arms of Joe in an attempt to save Mitsuko from heartache, her sacrifice only proving to prolong the horrors that will follow.
Joe's history and reputation seem to have a wide influence, and our three filmmakers believe that Joe could serve as the central character of their film, with the added twist that Joe will also portray the infamous serial killer too. But once the man in question gets wind of this little film, he decides to join in on the action and latches himself onto the group like a cancerous tumor. Joe slowly proceeds to assert dominance over the group, exercising absolute control over their actions and sucking the joy out of everyone along their slow descent into destruction. A master manipulator, Joe manages to commit untold atrocities without ever having to get his hands dirty. The deterioration of a once happy(ish) group of individuals, slowly starts to emphasize great tragedy for each one.
Like many of his films before, there are a lot of moving parts and common themes within a Sono film. The director enjoys the use of chapters, allowing audiences to draw a breath every once in a while. He is also relentless of his portrayal of Japanese culture and taboos, not shying away from violence, suicide, sexual desires, and homosexuality. Japanese values in their extreme form are shown in a negative light, showing how they can turn to be unhealthy and even divisive. The film sinks its claws into viewers and refuses to let go, taking all on an unpredictable ride that is equal parts jaw-dropping, full of suspense and packed with mystery. The film is well layered with parts that serve as underlying afterthoughts that are slowly brought into focus when the time is right. A great cast and mesmerizing cinematography make TFOL a film to remember.
Sion Sono has always been something of an industry bad boy, filming what he wants, when he wants and how he wants. I mean we're talking about a man who made a four-hour-long movie. While this unpredictability often results in as many misses as it does hits in terms of quality, it is also indicative of a man with a great degree of creative courage. TFOL is one of the director's hits and represents a Japanese film for those looking for more of a challenge in their cinematic endevours. As always, I wish you all happy viewing :).
More Info:
Website where you can find the film: https://www.themoviedb.org/movie/631997?language=en-US
Score: AA
Out of 10: 7
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