Love Exposure (World's Best Four-Hour Film?)

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Love Exposure (World's Best Four-Hour Film?)

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Postby NAveryW » Sat Apr 17, 2010 9:41 am

In the past there have been many crappy films that I immediately felt I should recommend. I have just watched a wonderful film that I'm not sure I can recommend to anyone. This movie, Love Exposure, is a poignant, humorous, crazy, and inventive independent film from Japan that has apparently garnered almost nothing but praise and film festival awards. And while I was thoroughly immersed for its entire four hour runtime, I don't think I'll ever find myself watching it again, nor is it easy to recommend to anyone I know. Why? One, because it focuses so much on tosatsu, and two, because it has a four hour runtime. I can't tell whether I should emphasize the phrase “four hour runtime” more with bold text or perhaps a semisweary adjective, or whether the phrase speaks for itself. I'm inclined to believe the latter. If I were to pick a random live-action FOX comedy, in all likelihood I could watch every episode back-to-back and it would take less time than watching Love Exposure. The Winner? 132 minutes. The Pitts? 154 minutes. Love Exposure? 237 minutes. The only reason I was interested in or able to watch it all at once was because I was awake at 1:00 AM, unable to go back to sleep, and without access to much of anything besides my laptop. After reading a review of The Man Who Stole the Sun, I started reading other articles on the same website dedicated to Japanese cinema. Love Exposure was praised lavishly and I was presented with a clip from the movie that was rather funny in a "stupid but creative" way. I looked it up, saw how much praise it was getting, discovered that it was actually a “serious business” film with drama and political commentary, watched the trailer, and decided I had to see the film. Unfortunately, it's hard for me to make time to see films even with meager three-hour runtimes, so I had to see it immediately while I still had nothing else to do. After a horribly difficult search, I was able to find and watch it in 22 parts on YouTube. And before you get the assumption I don't respect copyright, know that I bought the film on DVD (two DVDs actually; they couldn't fit the whole film on one disc) from Amazon even though the only version available was Region 2, meaning I can't watch the DVD anyway, nor will I probably ever find the time to watch the whole thing again anyway. That's how much I respect copyright.*

Amazingly, the film never felt too long. It kept changing itself up and remaining fresh, and I really think there's very little you could cut without harming the movie. Actually, it felt rushed at certain points, which makes sense since it was originally six hours but cut down by two at the producers' request, which was probably along the lines of “Hey, Sono-san, we think your movie's pretty good at first, but it gets a bit tedious around the FIVE-HOUR MARK. You think you can trim it a bit for us? People sometimes need to eat.”

I'm certainly glad I watched it all at once because there are Chekhov's guns all over the place and certain dynamic streams that I feel need to be seen uninterrupted for them to retain their full power. I realize, however, that most people don't have the luxury of taking four hours out of their day to watch a movie (that'd cut too much into their MMORPG time), and I wonder how often a viewing of the movie on DVD is indeed allowed to play out uninterrupted.

No, I'm not giving you the YouTube link. If you care enough, you'll find it without me and/or you'll buy the DVD. If you don't care enough, you shouldn't be spending four hours on it anyway.


*Wow, what a long paragraph. I tried finding places to break the paragraph up, but every topic segues into the next topic so fluidly that I couldn't find a place to cut it off. Love Exposure is like that, too.
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Postby Sailor Star Dust » Sat Apr 17, 2010 10:09 am

Sounds interesting though I don't know if I'll watch it. I do like the idea of long films or plays forcing you to really be thrown into the character's world.

And The Man who Stole the Sun wouldn't happen to be what I mentioned here (Rebuild spoilers in that thread), would it? (EDIT: Naw repiled already, so never mind I guess.)
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Postby Oz » Sat Apr 17, 2010 10:26 am

Ah, Love Exposure. I'm not sure if you are aware of the fact that it has often been discussed in the film threads. I have even written an extensive review of it. It's probably the most fascinating combination of hilarious absurdism and serious exploration of heavy themes I've ever seen. The film does its best to defy description even though it's a love story in the end. Discovering love and your identity through tosatsu is certainly something they could only come up with in Japan. :lol:
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Postby NAveryW » Sat Apr 17, 2010 10:39 am

View Original PostOz wrote:it has often been discussed in the film threads.
It has? *checks* I am so glad to be a member of EvaGeeks.
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Postby Oz » Sat Apr 17, 2010 10:43 am

In the "Most satisfying movie you have seen recently" thread, Love Exposure has popped up a few times. The first time it was discussed was a bit after I had seen it for the first time (which was around Christmas). Then there was also Yojimbo's review of it after he had bought the DVD in January/February. It's going to be a bit hard to find them because the thread is so long, but I would say it's worth the effort.
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Postby NAveryW » Sat Apr 17, 2010 11:01 am

I read your review and I found it intriguing, particularly because I found the first hour to contain the most pathos. The idea of a motherless boy deliberately sinning so his father will abuse him because it's the only way he can get his attention was quite moving; almost as much as when the same thing was done in Moral Orel.

Which brings me to something else I find quite interesting: I'm surprised a Japanese film focused on Catholicism and did it so well. I wonder if the presence of Christianity in Japan has increased much since Evangelion.
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Postby Oz » Sat Apr 17, 2010 11:37 am

Sure, I thought the situation was a bit tragic at first, but Sono presented in such a tongue-in-cheek way. Something I've become quite used to after experiencing Asian absurdism from a few other auteurs. The way the boy sins is quite absurd, though. And there's also the strong reactions from his friends who often call him "perverse".

And I wouldn't say the film focuses on Catholicism because that "cult" didn't really seem to fit under Christianity at all. For me, it was an exploration of religion in general.
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"Oh, Oz, I fear I'm losing my filmfag to the depths of Japanese pop. If only there were more films with Japanese girls in glow-in-the-dark costumes you'd be the David Bordwell of that genre." - Jimbo
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Postby NAveryW » Sat Apr 17, 2010 12:40 pm

View Original PostOz wrote:I wouldn't say the film focuses on Catholicism because that "cult" didn't really seem to fit under Christianity at all. For me, it was an exploration of religion in general.
The plot needed Catholicism to work, as it required a father who can't marry and a boy who worships an attractive young virgin. I'm not saying it was necessarily a commentary on Catholicism specifically, but any other religion and it would have been a very different film.
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Postby Oz » Sat Apr 17, 2010 12:51 pm

That's true. Aya Koike's background story wouldn't really work under any other religion. It is so deeply rooted in Catholicism.
"I'd really like to have as much money as you have, Oz" - robersora
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"Often I get the feeling that deep down, your little girl is struggling with your embrace of filmfaggotry and your loldeep fixations, and the conflict that arises from such a contradiction is embodied pretty well in Kureha's character. But obviously it's not any sort of internal conflict that makes the analogy work. It's the pigtails." - Merridian
"Oh, Oz, I fear I'm losing my filmfag to the depths of Japanese pop. If only there were more films with Japanese girls in glow-in-the-dark costumes you'd be the David Bordwell of that genre." - Jimbo
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Postby NAveryW » Sat Apr 17, 2010 1:31 pm

Also, Jesus is the only guy as cool as Kurt Cobain.
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Postby tomrule123 » Sat Apr 17, 2010 2:09 pm

Love Exposure, huh? I'll give it a shot.
Also, FOUR HOUR FILM?! Isn't that a bit of an overkill?

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Postby ran1 » Sat Apr 17, 2010 2:34 pm

Love Exposure is awesome. Sion Sono and Hideaki Anno are two of the best directors in Japanese cinema right nowI think its in my top 10 or 15 films. HIGHLY RECCOMEND.

Try some more of Sono's filmography
-Suicide Club
-Noriko's Dinner Table

Two extremely well-done films right there as well.
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Postby backseatjesus » Sat Apr 17, 2010 3:22 pm

View Original Posttomrule123 wrote:Love Exposure, huh? I'll give it a shot.
Also, FOUR HOUR FILM?! Isn't that a bit of an overkill?

When you watch it, you'll understand

Eureka is probably my #1 favorite film over 3 hours though.

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Postby Oz » Sat Apr 17, 2010 3:44 pm

View Original Postbackseatjesus wrote:Eureka is probably my #1 favorite film over 3 hours though.

I love Eureka and LE almost equally. Although if I have to choose between the two, I'll take Eureka. It has even more artfaggotry value than LE has.
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"No you wouldn't. Oz's secret is he goes without food to buy that stuff. He hasn't eaten in years." - Brikhaus

"Often I get the feeling that deep down, your little girl is struggling with your embrace of filmfaggotry and your loldeep fixations, and the conflict that arises from such a contradiction is embodied pretty well in Kureha's character. But obviously it's not any sort of internal conflict that makes the analogy work. It's the pigtails." - Merridian
"Oh, Oz, I fear I'm losing my filmfag to the depths of Japanese pop. If only there were more films with Japanese girls in glow-in-the-dark costumes you'd be the David Bordwell of that genre." - Jimbo
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Postby backseatjesus » Sat Apr 17, 2010 3:54 pm

Oh god, I forgot Inland Empire. That'd be my number one, then Eureka, then Love Exposure...

Wait, isn't Seven Samurai over 3 hours? SCREW LISTS! I'll be here all day if I have to recount how many over 3 hours movies I've seen.....

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Postby Bomby von Bombsville » Sat Apr 17, 2010 4:43 pm

But what about Waterworld?
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Postby Eva Yojimbo » Sat Apr 17, 2010 10:06 pm

Love Exposure (World's Best Four-Hour Film?)
No. The world's best 4-hour film is Edward Yang's A Brighter Summer Day. Jacques Rivette's La Bellle noiseuse is also better. I'd also say Gone With the Wind and Once Upon a Time in a America but they clock in at just under 4 hours. Rivette also has two other 4 hour films that are supposed to be great in L'amour Fou and Out 1: Spectre but they're completely unavailable to see. Though Angelopoulos has a few chances at topping it with The Travelling Players and Alexander the Great which I'll probably see soon.

Here's my review:

Love Exposure [2008; Sion Sono; 237 min; Japan]

9.0/10
SPOILER: Show
I think the appropriate reaction to watching or, more accurately, experiencing this film is WTF? No, seriously… WTF???!!! Basically, it’s a 4 hour absurdist epic about love, sex, religion, family, and… the ninja-like art of upskirt photography. I pity the fool who tries to provide a plot synopsis, so hopefully you’ll do the same for me. Yu Tsunoda is a young teenage Catholic in Japan where his father, Tetsu, becomes a priest after his mother passes away. One day, a neurotic woman named Saori shows up at the church and falls in love with Tetsu who tells her he can’t get married. Eventually, Saori leaves and Tetsu becomes despondent. This provokes Yu to start committing sins just so he can have something to confess to his father; but Yui’s a good, normal teenager who finds it hard to even kill an ant. Eventually he falls in a with a gang of hoodlums and finds the ultimate sin which no priest can be apathetic about; those of lust of sexual perversion. Yu trains to become a master upskirt photographer and when he admits this to his father he finally gets a reaction out of him.

Meanwhile, Yu is also out looking for his “Maria” (Virgin Mary) that his mother wanted him to find and marry. After losing a bet and dressing up as a girl with a black hat and trench coat, Yu stumbles into that girl named Yoko. Yoko is a badass who hates all men and actively looks to beat them up. This eventually gets her in trouble in a scene where’s she’s surrounded by men out to get her. Yu as the lady “Miss Scorpion” or Sasori steps into help and Yoko becomes obsessed with him, thinking he’s a she. Yoko happens to live with Saori – the same woman who left Tetsu. Meanwhile, behind the scenes, a cult leader of the “Zero Church” named Aya Koike is stalking both Yu and Yoko, developing her master plan to bring both into the cult. Both Aya and Yoko have pasts which featured abusive men, and Aya seems to lead a multi-layered life outside the Zero Church which even includes running cocaine through customs (I guess we shouldn’t ask how this is the least bit possible for a teenager).

If it sounds weird from the descrïption, it’s much weirder in actuality. On the box one critic calls it a “Japanese eroto-theosophical answer to the allegorical journeys of Jodorowski”. The comparison isn’t far off, but Jodorowski was always much more obviously surrealist and symbolic. Love Exposure actually contains what could be called a semi-traditional love story wrapped in layers of satirical, surrealistic, absurdism. Discussing the film on typical standards of narrative, acting, characters, direction, etc. doesn’t seem as if it would be particularly enlightening because the experience of it is something that quite transcends these things. The simple fact is that through it’s near 4 hour runtime I was never, ever sure of what direction the film was going to take. It starts off as a fairly sad film about spirituality and loss, develops into a satire about the perversity of Japanese pornography and “hentai” and ninja films, again develops into a bizarre love story about obsession, lies, sexuality, and childhood traumas. Somewhere it takes another turn for the bizarre down the road of religious cults, hyper violence, and long takes with Yoko quoting Corinthians 13.

It’s one of the most difficult films I’ve ever tried to review if only because the tone is so all over the place. At times it’s outrageously funny; especially Yu’s “training” to become a master upskirt photographer. At others its deliciously over the top, such as when Aya tries to break her incestuous father’s erect penis off, but decides to take an enormous pair of scissors and cut it instead resulting in a fountain of blood. But perhaps most shocking outside of these extremes are the moments that somehow manage to be genuinely moving and beautiful, such as when Yu abducts Yoko from the Zero Church and attempts to bring her back to reality. When she tries to escape him, he catches up with her on a beach and she eventually pins him to the sand and with tears in her eyes quotes Corinthians 13; a Biblical passage having to do with faith, hope, and especially love: “Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It is not rude, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres.”

This isn’t to say the film is perfect. In a film this audacious, daring, and ambitious there are bound to be moments that don’t work. In fact, I don’t really feel the film merits its length. There are plenty of superfluous scenes, too much repetition that adds very little to the film (such as the multiple scenes of Yui doing the ninja upskirt shots), some bits that just seem tonally flat, repetitious, too over the top, or generally unnecessary to the film as a whole. This would’ve been better as a 2.5-3 hour film instead of 4 hours. But given how much of it does work, and given how out-there it is it’s hard to harp on its flaws. The film also offers a smorgasbord of interpretive breathing room; especially with its archetypal and allegorical treatment of sex, religion, perversity, obsessions, and social satire. It’s an undeniable rich film which, to its merit, doesn’t preach or seemingly “say” anything specific. It’s rather remarkable given the enormity of the subjects that it seems to stay focused on the bizarre narrative and characters to the very end. The bottom line is that the film provides an experience quite unlike anything I’ve ever seen in film and certainly something that seems utterly alien in modern cinema.
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Postby BrikHaus » Sun Apr 18, 2010 12:08 am

The only 4 hour movie worth watching would be a 4 hour long Detroit Metal City concert. If Krauser can fit 10 rapes in one second, just imagine how many he could do in 4 hours!
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Postby planet news » Fri May 21, 2010 10:19 am

GODDAMMIT THIS FILM WAS SO AWESOME.

Started watching it last Saturday but had to stop... Rewatched the whole thing last night start to finish. What a wonderful experience. What a perfect story for a four hour film. Every time I thought it would "get stupid" or "ridiculous" it only managed to move me more. I'm still not sure I can articulate anything meaningful about the subject matter. Perhaps the most "ridiculous" part of the film is its extreme ideas about love. Then again, this was obvious hyperbole, though I sort of find myself agreeing with this idea of "finding" Maria. Wouldn't something like that BE extreme and ridiculous. Of course, some parts--Corinthians 13 monologue, breaking Scorpion out of her shell--were just so epic I had to whisper to myself "yes, yes! it's all nothing without love!" The songs used (especially the Beethoven song) were all amazing on all respects and the editing has been fitted amazingly well with it.

As of right now I can say it is easily in my top three films ever (1.???, 2.???, 3. Love Exposure), not that I have watched enough of the "truly awesome" films recommended here by Yojimbo/Oz etc.

I think it's a pretty good to rewatch too because it's so fast-paced and "dense". It's not like Satantango or anything, even though that was longer. Shorter films, like Solaris and Stalker, have certain felt longer just due to their pacing. Certainly the best (only) four hour film I've ever seen.
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Postby soul.assassin » Thu Nov 17, 2011 2:17 pm

I came, I saw, I got mindfucked big time.

Image
I'm fucking sold, and I'm keeping this for good. Made of awe and win. 11/10.

Man... my nuke-blown mind is now making associations...

Yu Honda = Shinji
Yoko = Asuka
Aya Koike = Kyubey (...and FUCK YOU KYUBEY)


One has to be a complete douchebag idiot not to like (if not love) this movie.


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