Evil Does Not Exist

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/evil-does-not-exist-bfi-london-film-festival-review-technically-brilliant-yet-unimpactful/

"Evil Does Not Exist is a disappointing slow-burn that fails to offer a fitting, impactful, complete study of the genuinely interesting central themes linked to nature, sense of community, simplicity of life, and industrial profit fixation.

Technically, no faults: Ryusuke Hamaguchi has a superb crew, using lovely cinematography and an atmospheric score to create an immersive, intricate environment.

The big problem lies in the filmmaker's overconfidence in the audience to develop and finish his own story and respective character arcs, culminating in a disconcertingly shocking, strangely empty ending."

Rating: C

The initial few scenes here will give you an idea as to the pace of what's to follow. "Takumi" (Hitoshi Omika) is cutting logs for firewood, then he is seen laboriously ladling water into plastic bottles. His is a naturally structured existence that is driven by what's needed to stay fed, warm and watered. It's not quite a rustic life, though, there are plenty of mod cons - cars, electricity and the like, and his curious daughter "Hana" (Ryo Nishikawa) goes to the local school from where he regularly forgets to pick her up! The local planners and a talent agency have cottoned on to the beauty of this unspoilt area and have decided it could be ideal for a clamping site. A town meeting is organised and two city-folks turn up with precious little idea as to the impact their plans might have. Sent away with a flea in their ear, their bosses come up with a very watered down compromise to provide for a permanent caretaker - and they want to offer that job as a sop to "Takumi". What now follows sees the city-folks become more engrossed in his country ways until he, again, forgets to pick up his child and she goes missing. They all have to search high and low for her as the darkness and cold settles in for the night. Oddly enough it's the laconic dialogue and the gentle pacing that make this story a bit more interesting. The reconciliation of progress with nature, the clear clamour for profits at all costs and the power of persuasion all play their part before a slightly mystical denouement that rather emphasises the continuity of nature regardless of man's involvement. The young Nishikawa delivers sensitively as the film offers us quite an unique look at how man and it's environment ought to synergise.