It’s a beautiful film. And for strong hearts. In 2002, Takeshi Kitano brought together a combination of three love stories, two of them inspired by the stories of the Bunraku doll theater and one in the pure observation of their surroundings.
Kitano is one of the big names in Japanese cinema. Director, screenwriter, actor and editor, this multiple artist also brings a diverse range of genres in his productions, but, until today, I have never seen anything like Dolls. The film intertwines three love stories that seem to be told by a couple of Bunraku dolls, from Japanese theater. They open and close scenes. During them, one of the stories is that of a couple walking through the seasons tied by a long red cord. The three are beautiful and somewhat sad, due to their tragic tone at some point in the narrative. All are, however, unforgettable.
I watched the movie when it was released, 16 years ago, and it still hasn’t left my mind. I don’t fully remember him, but seeing Japan under this photograph, the seasons of the year crossing this walking and silent couple stayed with me as a poetic and beautiful expression of culture. Likewise, the treatment given to the other two stories, also of a delicacy little seen in the extremely talked about novels that we usually see in Western productions. Here, the speech is for a few moments only.
What counts is the combination of artistic appreciation and feeling. The film is to be seen with a company that understands this or that sees itself, perhaps it is even better. The photography, the costumes that mix traditional and modern culture and this idea of always looking for something, but always in prison also provoke reflection.
We identify ourselves particularly with this couple that walks freely around the world, but is bound by a firm bond that does not untie. I think that at some point in our lives, we may feel trapped like this couple, in a noose or big knot. It is not visible, but we know when it happens and we do not see a short-term solution on the horizon, how to untie it. For that, it is necessary to have patience, as the film proposes, to find this time for ourselves, so that we reflect with patience and perseverance, what we are experiencing. Find a new perspective, look from a new angle.
This process of self-knowledge and meditation is another strong mark of Japanese tradition and behavior.
It is not free to represent most of the country's cinematography. These studies on ourselves are fundamental to our own development in any situation. Yuri Martins knows what that is. Poker champion and usually subjected to high stress situations, Yuri established a process of self-knowledge and mental training that guarantees results. He prepares, studies, recognizes the signs in himself that he needs to develop and then tests himself.
I don't know if he is a follower of some oriental philosophy or meditation, but there is certainly some influence there. Like the couples of Kitano's work and the maximum cliché of life, it is necessary to give time to time, it is necessary to persevere in order to progress and understand what happens to us, to find new ways of looking, it requires giving opportunity for the new.
Perhaps this is what the tragic characters of this film lack, who in a conversation would not end so quickly. There are many layers and perspectives to be addressed, and it can also establish itself as a purely aesthetic entertainment for those who do not want to go further. Just sit in front of the screen and surrender to the images composed as paintings that only a multiple artist, with a large cast and crew, could build.