Reach Out and Touch Faith

Distance (2001) - Kore-eda Hirokazu Kore-eda paints a complex picture in the aftermath of unspeakable acts of terrorism and contemplates on the collective responsibility in Distance, inspired by Aum Shinrikyo Sarin Gas Attack in Tokyo Subways in 1995. But in true Kore-eda fashion, the film is not about the carnage or condemnation of the soulless society, but a plea for us to reach out and take care of each other, even though understanding one another can be hard.

It's been three years since the Ark of Truth cult sabotaged Tokyo's water supply system that killed hundreds and injured thousands, we are informed by the TV broadcast. After the act, the members of the cult committed suicide, and their bodies burned and the ashes scattered. Four family members of the cultists, still grappling with the fact that their loved ones committed such a heinous act, get together and pay a visit to the lake in the countryside where the ashes are supposedly scattered. It is revealed that they've been doing this annually, making the trips together to pay respects to the dead.

On the way to the lake, they encounter a surviving cult member Sakata (Tadanobu Asano), who abandoned the group at the last minute, there as well. He keeps his distance. After the visit to the lake and paying respects in various forms, (laying flowers in the water, praying and just saying a few words) they turn back, only to find their car stolen. It's getting late and the rain storm is brewing in the distance, they have no choice but follow Sakata into a cabin which was home for cult members.

Talking to each other and asking Sakata as they spend the night together, they find out the insights and thinking behind their estranged family members. In the beginning, Kore-eda unhurriedly shows the four living their lives, doing their jobs - a swimming instructor, a teacher, a salaryman and a florist. In a series of flashbacks, we get to witness their interactions with their family members who became cult members. Something is missing in their lives, they want to start over, they want to heal their souls...

Just like his previous films - Maborosi and Afterlife, Kore-eda plays the pivotal memories of each character- their final goodbyes, losing them forever to the cult - things get violent for some, not understanding their family, some uneventful and more contemplative. However, that was the last interaction they have had with their loved ones.

Like all his other films, Kore-eda concentrates on the concept of a family in Distance. That it is our duty to shorten the distance between us before it becomes too far and unreachable. With the poetic visuals and contemplative nature, Distance is closer to his earlier films than family dramas of his later films. Unlike the Japanese cinema of disaffected in the late 90s and 2000s by filmmakers like Kiyoshi Kurosawa and others, Kore-eda wants to give us a glimpse of hope in human interactions and advocate reaching out and understanding each other with Distance.

Floating

El auge del humano 3/The Human Surge (2023) - Williams Seven years have passed since Argentine experimental filmmaker, Eduardo Williams's Human Surge made a splash in the international film scene. The elusive threads of young people's lives in the global south, shot in various media that incorporate video games and internet, challenged and refuted the rigid old notion of cinema and its first world colonialist hegemony without being seen as overtly political or preachy. Globalization, in Williams's presentation, at least for young people, is both fantasy and real, and among them, connection is easily made crossing national boundaries over abundant technology and is no big deal, in their impoverished daily lives.

Williams comes up with The Human Surge 3. Never mind its title. It's been a while, things have been happening in the world. It's appropriate that he jumps to the third one to keep up with the times. (The prolific filmmaker has been constantly making shorts) In Surge 3, using a 360 VR camera, he charts the non-binary young people's lives in Peru, Taiwan and Sri Lanka. As always, their daily lives in exotic surroundings and daily conversations can be a little discombobulating to the viewers at first. But as it plays out and we settle with some recognizable faces over time, we get settled in and notice that their thoughts intermingle. Certain conversations are repeated in different languages: their animosity toward millionaires, polution and environmental destruction. Then they appear in each other's surroundings and communicate with each other, either in English or in their own language without missing a beat. Someone mentions, "I saw you in my dream, eating a mango on a raft in the water," matching with the image in the Peru section.

In Williams's hand, globalization in the internet age opens up limitless possibilities for the young people to connect - they literally float in the air. For the viewers, he presents an immersive visual/aural journey while also reminding the limitations of technology (for now) by leaving in the distortions of wide angle VR camera imagery in the film.

There are some great established filmmakers who take great chances with experimenting with narratives and the medium to further their artistry in telling human experiences within historical and cultural contexts: Lisandro Alonso and Miguel Gomes- Harmony Korine to a lesser extent, come to mind. Eduardo Williams, with his minimalist/maximalist free-flowing aesthetics, with acute observations of the world here and now, with a great deal of sense of humor and compassion & tenderness toward its subjects, emerges as one of the most daring, important filmmakers working today.