Drive My Car is a brilliant, profound film haunted by the metaphorical ghosts of lost loved ones.
Like Kafuku, Watari gives the impression of having a deep sense of melancholy, and like Kafuku she works on suppressing her emotional trauma in order to continue her life. Both of them are wounded by their uncontrollable grief, and each of them is plagued by a sense of guilt that convinces them that they could have saved their respective departed. When the two share a lengthy car ride near the end of the film, Kafuku beings to understand that there’s much to Oto that he didn’t know. Like much of the work of Haruki Murakami, Drive My Car is haunted by the metaphorical ghosts of lost loved ones. When he turns to direct a multilingual adaptation of the play, eventually casting his wife's lover in the role of Vanya, it becomes clear that his coping methods are still in effect. Even more than a passion or a manner of making a living, Kafuku utilizes his theater directing as a method of therapy. Koji reveals the end to one of Oto’s stories that Kafuku hadn’t known. As he begins work on a new production of Anton Chekhov’s play Uncle Vanya, he quickly realizes that the road to recovery — and acceptance — is lengthy and paved with unforeseen obstacles. She was also mentally ill, being afflicted with an identity disorder that created a childish, infrequently-appearing personality that was loving and kind to Watari. She understands that her mother was a victim of her illness, but she also remains victimized by her mother’s abuse. Drive My Car earns its three-hour length through its patient and slow-burning pacing that allows a thorough autopsy of its characters’ complicated and often conflicting emotions on their pain. He becomes unable to act in his stage performance of Uncle Vanya simply because it becomes too close to him. Steering its way through many revered international award ceremonies and picking up an impressive amount of accolades along the way, Drive My Car has proven itself to be a modern masterpiece whose artistic power is likely to last long into the future.
Drive My Car(Japanese with English subtitles, Streaming on Mubi from 1 April). Starring Hidetoshi Nishijima, Tōko Miura,Masaki Okada ,Reika Kirishima.
In making a 3-hour film out of 5-page story, Hamaguchi is often seen stretching the emotions way beyond their prescribed limits. At the end Misaki drives Yusuke to her native place where she has buried some of her own secrets. I thought this was the end of the movie. Throughout the 3 hours of playing time Yusuke seems disaffected from his surroundings, a state of ‘being there but not being there’ which is further compounded by Yusuke’s wife Oto(Reika Kirishima)’s auto-eroticism. Oto conjures stories during orgasm which her husband is supposed to memorize during their love-making as she forgets her stories the next morning. Indeed Drive My Car is something we have never seen before in cinema of any language.
The film's impact lies in its powerful silences that render deeper context to the humanistic drama which unfolds through spoken words.
The film’s impact lies in its powerful silences that render deeper context to the humanistic drama which unfolds through spoken words. Shinomiya scores with the way he brings alive the world as Yusuke sees it through the windows of his car. It is the first time he lets in a co-passenger in his car after Oto’s death. With a source as rich as Murakami for script material, Hamaguchi naturally starts out with an advantage but his screen-writing along with Takamasa Oe is effective for the way they tell the story. Hamaguchi has a background in documentary filmmaking, a fact reminiscent in the way he brings alive many scenes. As Yusuke, Hidetoshi Nishijima is understated in the way he brings alive the protagonist’s grief. Protocol demands he must adhere to the arrangement, and it threatens to disturb his private space in the car with Oto’s recordings and memories. Through the conversation that follows, it is also the first time he lets in an outsider to Oto’s memory after her death. He has a tape with Oto’s voice reciting lines of the play, which he loves listening to as he drives around. The film is an intimate tale of love, loss and loneliness, and at the same time a moody narrative that sets up drama using the themes of fate and regret as its immense runtime of 179 minutes plays out. There is a reason Yusuke shares such a deep bond with the play, beyond aesthetic reverence for Chekov’s art. When you say his lines, he drags out the real you,” Yusuke says at one point in the film.
LOS ANGELES (Kyodo) — Director Ryusuke Hamaguchi's “Drive My Car” won best international feature at the 94th U.S. Academy Awards in Los Angeles on March 27, ...
“Drive My Car” missed out on the best picture Oscar, although it made history as the first Japanese film to be nominated for the category. He finds solace in the company of a female chauffeur assigned to drive for him as he comes to terms with his loss. When the film was announced as the winner of the best international feature award, Hamaguchi, 43, hugged actors Hidetoshi Nishijima and Masaki Okada before going on stage. Japan’s top government spokesman Hirokazu Matsuno said, “We are very pleased and congratulate (those concerned) from our hearts. In the run-up to the Oscars, “Drive My Car” won the Golden Globe for best non-English language film in January and the British Academy of Film and Television Arts award for a film not in the English language in March. “We’ve got it,” Hamaguchi said as he closed his speech by raising the Oscar statuette.
The movie grossed $1 million in 150 theaters. That's almost unheard of in terms of foreign film distribution. So how did this happen? What made a small, indie ...
Rolling out movies might do well in creating buzz, and keeping them off streaming might feel like limiting access, but it drives movie fans to the theaters and ups the demand to show the movie to new places. “Sideshow came about between longtime collaborators who wanted to ensure that select films/new works in contemporary cinema that we loved were given the attention of a specialized theatrical release and did not risk getting lost. But one thing we have not talked about is how Ryusuke Hamaguchi’s three-hour arthouse adaptation of a Haruki Murakami short story was able to break out this year.