To open a film with a Noh play is brave. To view a film that opens with a play that a wag once described as a theater form with no movement is to anticipate and endure a film in its slowness. To those who are aware of this theatrical tradition touted to be unchanged for so many hundreds of years, they must have prepared themselves to offer their concentration if only to honor the bravery and imagination of one filmmaker.
The story, first of all, begs credulity. A village that has the appearance of a heritage site is at the center of this tale. It used to be a beautiful place, with an assumed active community until a waste disposal was set up within it. We know that Japan, like any other developed states, has arrived at decisions in the past and presently where ecology and environment are sacrificed in favor of capital.
Contributing to the mess in this film, and I do not mean the garbage, are the workers in the garbage company. They are all men working as if the trash collection company is the only place from where lowly laborers can earn a living. Foreign workers know better. Up close a young worker, Yuu, stunningly handsome even in that gross state of uncleanness, is bullied by one of the bosses, a giant of a thug. He is the mayor’s son. This young man never fights back. The story that we know of him is that he is tied to that job, cursed. It turns out he has a past, or, from his family, an inherited a past.
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