Hiroki Kono’s first film is an unflinching, fixed gaze into the self. Filmed in extensively long, lingering takes and without very much dialogue it grows ever so melancholic. After Kanzaki receives a mysterious phone call, he drops everything to make a trip out near Mount Fuji, something taxis and ride-shares refuse to do. After spending some idle time on the corner where he once hailed a driver that turned him away, Kanzaki spots a man in a red jacket sprinting down the sidewalk. He’s stolen a woman’s purse, the victim trailing behind and screeching in attempts to stop the thief. Kanzaki follows his movements, where he tries to hire him to drive the 2 hours needed to reach his destination.
J005311 is chock-full of open spaces in time, giving us a real-time feeling for what kinds of decisions Kanzaki faces as he goes. The film denies us the visually open spaces we associate with large mountainous ranges and the valleys leading towards and away from them. Based on the nature of Kanzaki’s undertaking, which grows increasingly dark the closer he gets, these sights would suggest they at least be of some comfort to him, but once he arrives there the photography translates his experience into one of uncharted fear and indecision.
Much of the film looks vaguely claustrophobic with its use of tight subject shots and handheld movements. At points we feel like we’re there, a second or third person in on the action but not necessarily wanting to be there, either. Kanzaki is woefully unequipped to play out something he feels is a necessity for someone of his stature in society and cannot muster the confidence to do the job himself. Much of this is portrayed in slow, near silent physical performances either by himself or the purse-snatcher who drives him out, Yamamoto (played by Kono himself).
Yamamoto plays the thief in more visual flair, dressed down in a red and black jacket, with blonde-dyed hair that’s starting to grow back in black at the roots. Everything about his character that we need to know is already visible, and the time he dedicates to stealing one person’s small bag of belongings results in a mad dash of several blocks for most of a pack of cigarettes. This risk he’s taken shows Kanzaki that this is someone braver than he; the thief can inspire Kanzaki with his greater command of autonomy and individual spirit.
Despite how different they are from each other, they still communicate fairly effectively together, using body language to get a question or answer across without speaking very much out loud. What is said out loud, however, plays into how separated the two are in classist terms. Kanzaki tells Yamamoto about his work life, his age, and how he sees himself as generally meek and undistinguished. Yamamoto is bouncing between shorter gigs to get by but never speaks about crime. Kanzaki takes an opportunity to plead with him to stop breaking the law, but in discourse, as disconnected as this is, it goes just as well as you’d think it would.
This fits the Denis-eque style of slow cinema to keep its momentum going, while suggesting an in-world reasoning of respectful apprehension. Yamamoto is reluctant to insert himself into Kanzaki’s life when what they feel they need to do is unspeakable. One event where they exchange probably the most powerful moment together is after Kanzaki thanks the driver for his time and leaves. As he walks the length of the parking lot outside, Yamamoto drives slowly behind him, then pulls around in front, stopping him. We don’t see Yamamoto’s face here but we know he’s pleading in much the same way Kanzaki tried earlier. Kanzaki ignores him completely and continues walking, Yamamoto stalling for a moment before hitting the accelerator, tires squealing as he peels out. The experience of J005311 is a more contemplative type, and those looking for a tighter sense of plot surrounding the mystery of its content will come to the film with unrealistic expectations. The story told here is a much older one, but within it, Kono crafts an inhabitable space of anxiety and dread that takes you prisoner until the very end.
J005311 had its International Premiere at Japan Cuts courtesy of Japan Society.
Director: Hiroki Kono
Writer: Hiroki Kono
Rated: NR
Runtime: 93m
The experience of J005311 is a more contemplative type, and those looking for a tighter sense of plot surrounding the mystery of its content will come to the film with unrealistic expectations. The story told here is a much older one, but within it, Kono crafts an inhabitable space of anxiety and dread that takes you prisoner until the very end.
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GVN Rating 8.0
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Andre is an avid film watcher, blogger and podcaster. You can read their words on film at letterboxd and medium, and hear their voice on movies, monsters, and other weird things on Humanoids From the Deep Dive every other Monday. In their “off” time they volunteer as a film projectionist, reads fiction & nonfiction, comics, and plays video games until it’s way too late.