AFI Fest: “Perfect Days” and “La Chimera”
Sunday, October 29, 2023 at 6:00PM By Eurocheese
Two very different leading men take their audiences in polar opposite directions in these two Cannes entries, though both are unknowingly on their quests to discover empathy. In the case of both Perfect Days and La Chimera, their unpredictable structures left Saturday's AFI audiences fully engaged through over-two hour running times. If you have the opportunity to catch either of these films in a theater, I highly recommend the experience...
PERFECT DAYS
Wim Wenders’ Perfect Days hinges on the talents of Cannes Actor winner Kôji Yakusho, who we follow as he cleans the toilets of Tokyo. Early in the film, he gives a mostly wordless performance. His character Hirayama’s reactions to little moments in the world around him – natural beauty, human interactions, even the act of cleaning itself – give us a window into the small joys that make up his days. He is set in his ways and has found peace in his rituals, along with his extensive music collection from another time. As he observes the world, the audience watches his reactions to see how he is processing outside influences.
Change, of course, is inevitable. At first, a boisterous coworker with a crush on a local girl disrupts his calm, angling to sell some of his prized music collection. But the bigger shift comes when a family member unexpectedly shows up on his doorstep. Now someone is observing every moment of his routine, and we see him begin to open up. Can he communicate what is precious to him in a way that someone else will understand? Will his positivity extend to her, and how will her presence change him moving forward?
Because Hirayama remains reserved through most of the film, his physical responses drive our interpretation of his thoughts. Yakusho gives us every facet of his character through his eyes, his sharp physical responses, and the way that he carries himself from scene to scene. As he is shaped by his environment, the audience responds to his every gesture. We can feel the way he approaches each day, and his optimism makes his disappointments hit even harder. It’s a deeply empathetic portrayal.
The film manages to showcase the beauty of observing the world around us while still being aware that life must be engaged in order to be fully embraced. Hirayama seems unencumbered by the outside world’s take on the life he has created, but what is life if we avoid all human interaction? Despite touching on serious questions, Wenders leaves his audience with hope that we can find joy in our own corners of existence and grow as we learn from one another. A-
LA CHIMERA
La Chimera’s take on humanity extends not only to the living, but to the dead. The story shows us the lives of a group of grave robbers, and one thief in particular who has a gift for finding sites where buried treasures can be unearthed. Josh O’Connor’s Arthur abuses his gift by communicating with otherworldly forces, but it begins to take an emotional toll on him as he realizes that he is betraying the spirits that are guiding him. He is increasingly haunted by his own actions. When a potential love interest enters his life she questions his actions, though she is keeping her own secrets. Much like Perfect Days, this film asks what we owe each other, though this film focuses on the consequences of ignoring that responsibility.
Director Alice Rohrwacher is known for her takes on surreal, magical alternate realities, but her themes tie back to fractured relationships in our reality. Arthur’s strained family ties and inability (or unwillingness) to escape his criminal life keep the audience from entirely sympathizing with his struggles, but the looming threat of karma coming back to strike at him keeps tension high. At one point, he stares so intently at an object that it seems like it will start speaking to him. Perhaps it is, and we aren’t able to hear it. The mystery of his abilities intrigues all the characters trying to manipulate him, but also leaves them fearful of what else they might not be able to understand about him.
The tone of the film shifts frequently, bouncing between capers, intimate dramas and ghostly retributions. Arthur’s gift is more of a curse, and while we see him attempt to build a life around it, there isn’t much hope of escaping its impact. As he is pulled in different directions by his protective mother (Isabella Rossellini), her intriguing aid (Carol Duarte), his band of thieves and images from his own past, Arthur stumbles forward, leaving the audience curious where he will land. B+
Reader Comments (4)
I found myself in an interesting duality with these two: I am not normally a Wim Wenders fan - outside PARIS, TEXAS, I find his movies tedious - but I loved this one. And I have liked everything Rohrwacher has done up to now, but this one I found to outstay its welcome just a tad too much for me to rate it as "good".
Wenders is one of the great directors of urban spaces. Loved seeing him take on Tokyo.
Funny thing about LA CHIMERA was that I spent the entire time asking myself if that was Josh O'Connor, no it couldn't be Josh O'Connor, but he looks just like Josh O'Connor. I just did not expect Josh O'Connor!
I loved Perfect Days so much. It reminded me of so many of my favorite filmmakers' work - Wenders's favorite director Ozu, of course, but also Linklater and Sofia Coppola. Just a gorgeous slice-of-life film. (And the soundtrack was lovely.)
I haven't seen La Chimera yet but am really hoping I get a chance to catch it on the big screen.
This movie is so good, offering a beautifully empathetic portrayal of a character's journey to find joy and connection in their corner of existence while leaving the pokedoku audience with a sense of hope and optimism.