1991-2000ArthouseDramaJapanShinji Aoyama

Shinji Aoyama – Yurîka AKA Eureka (2000)

Following a deadly bus hijacking in southwest Japan, the three survivors–Makato (Koji Yakusho), the bus driver; Kozue (Aoi Miyazaki), a young girl; and Naoki (Masaru Miyazaki), her older brother–find further tragedy in their personal lives. When the traumatized Makato eventually contacts Kozue and Naoki two years later, he moves into their home and becomes a father figure for the two children, who have stopped speaking. The trio are then joined by Akihiko (Yohichiroh Saitoh), Kozue and Naoki’s college student cousin, and together this odd surrogate family embarks on a road trip across Japan. However, a string of murders appears to be following them and threatens to permanently disrupt their quest to regain normal lives.

Clocking in at more than three and a half hours, Shinji Aoyama’s EUREKA is a daunting film that rewards patient viewers with an utterly unique and moving cinematic experience. Shot in black and white with a sepia tone, the movie features breathtaking photography by Masaki Tamra. In part an ode to John Ford’s THE SEARCHERS, EUREKA features an outstanding performance by Yakusho in the John Wayne-like leading role.

2.54GB | 3h 38m | 827×352 | mkv


Subtitles:English, French

One Comment

  1. Thank you ! this is one of the greats —
    Its long but definitely worth the time spent with this
    slow – tender masterpiece :

    ” It would be easy to see Eureka as a spiritual parable, but Aoyama’s philosophy has also been acquired from more recent sources. Among the influences he cites for Eureka (for which he also co-wrote the music) are the Sonic Youth album Daydream Nation and Jim O’Rourke’s Eureka (which gave the film its title), both of which he listened to “continuously” while writing the screenplay. He listens to Surf’s Up by the Beach Boys first thing every morning, followed by Marvin Gaye’s What’s Going On?, and with long hair tied in a ponytail, casual jeans and black T-shirt, you could easily picture him playing guitar in some prog rock band.

    “I don’t belong to any particular religion. Maybe you can regard my film like a live performance of psychedelic rock in the late 1960s. It’s not religion, but in a sense it’s similar – everyone’s forgetting themselves, getting stoned, listening to a long performance. In a way it’s my experiment – can I achieve this experience without drugs, just with the pictures and sounds of my film?”

    — CH

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