Drive My Car

El tono introspectivo en el que narra la relación entre un dramaturgo y su relación con su chofer particular, puede ser un poco agotador, por su metraje de cerca de tres horas y su ritmo relajado. De cualquier manera, deja un cierto buen sabor de boca.

Hamaguchi lets you live the inner life of his characters, and you just wish the movie would never end, as in 'Happy Hour.'

It's like a therapy session mixed with a remake of Uncle Vanya. The characters suffer from splitting and denial.

It lasted like forever! One of those movies that never end, very slow. I liked the story, and the acting, but there were times where I actually fell asleep cause nothing relevant happened. If you are on the mood for a slow burning drama then go ahead.

Yeah I suppose this could have been half as long but the movie slows everything down deliberately (hence why the opening credits don't happen until about 45 minutes into the runtime) so that we can linger on the the characters and small observational moments that most movies don't have the time to indulge.

I really wanted to like this movie. With 15 minutes left all I could think is that I hope the credits run for 12 min. I just wanted it to end and it wouldn't. I suppose it's touching in some places, but mostly it's just long and painfully boring.

artsy scribble sometimes elegant and smooth

It has very good philosophical and artistic background. Every shot is beautiful and it gives you the perfect cinematic experience. The only downside is its long duration.

It's perhaps overly indulgent but that's not to say nothing happens. There's a whole lot going on and I appreciated the change of pase from most other movies. And there's certainly no denying it's quite beauty and impeccable craftsmanship.

An absolutely sublime but extraordinarily long and complex film made from the adapted short story by Haruki Murakami. Drive My Car tells the story of actor and director Yusuke Kafuku (Hidetoshi Nishijima); his complex sexual and muse-like relationship with his wife Oto (Reika Kirishima); and then slowly coming to terms with his grief after her sudden death. Two years later, he is commissioned to direct an production of Chekov's Uncle Vanya in Hiroshima. There, whilst directing his incredibly ambitious multilingual production, he slowly forms an unlikely friendship with a young female chauffeur Misaki Watari (Toko Miura) assigned to drive him back and forth from rehearsals in his equisite vintage Saab 900. In the car, Kafuku listens to tapes of his late wife reading lines from the play in the car, processing his grief as he gradually opens up to Misaki, Lots of huge positives frim this utterly compelling Japanese film, but it will probably benefit from re-watching several times to fully appreciate its immense subtleties. For me though, the real stand-out was Lee Yoo Na (Park U Rim) a deaf (or at least mute) actress using Korean Sign Language in both play rehersals and the concluding public production. She creates the incredibly poignent (and silent) penultimate scene that ‘speaks volumes’. Given all the current hype about actors (mis)using cultural appropration, I can imagine a non-signing actress playing a signing character being a problem for some. I also dont know any sign language (let alone Korean SL) to be able to judge its accuracy when used here. But for me at least, I think its sublime beauty in portraying complex language only visually in this film is simply and absolutely stunning.