A man wakes up alone in a brightly illuminated white room with no windows or doors. When he presses a mysteriously phallic protuberance that appears on one wall, a pink toothbrush ... See full summary »
A medieval nobleman and his squire are accidentally transported to contemporary times by a senile sorcerer. He enlists the aid of his descendent to try to find a way to return home, all the... See full summary »
When Hildur - a beautiful high society girl and a regular guest in the national celebrity press - finds out that her boyfriend Jolli is about to go into jail, she realizes she has to learn ... See full summary »
Gunnar B. Gudmundsson
Ragnhildur Steinunn Jónsdóttir,
Davíð Þór Jónsson
Traveller Tsing meets a girl with a sword, which is "forever" kept in the sheath. Quite by chance he succeeds to pull the sword, and she said him that it is a sign - now he has to marry her... See full summary »
In this movie, TV sets are full of life. If a person is in TV (e.g. because it was filmed on the street) it has a double that's right in the TV set. This double needs energy from the true ... See full summary »
A man wakes up alone in a brightly illuminated white room with no windows or doors. When he presses a mysteriously phallic protuberance that appears on one wall, a pink toothbrush materializes from nowhere, clattering to the floor and setting in motion a genuinely bizarre chain of events. Soon the imprisoned man is engaged in absurd and hilarious attempts to escape the gleaming room, releasing random objects from the walls, creating a life sized mouse trap game in which a rope, a toilet plunger and an earthenware jug full of sushi might just be the keys to his escape. Meanwhile, in a dusty town, a green masked Mexican wrestler known as Escargot Man prepares for an important match. His family gathers around him, worried about his seeming impassivity before battle. Written by
How can I explain such a simple yet complex film such as Symbol? It's not easy, but I'll give it a try.
Symbol see-saws between two stories and is shown in three chapters which are labeled Education, Implementation and Future. There's the story of an out-of-shape Mexican wrestler known as "Escargot Man" as he prepares for a title fight in some tiny dusty little village. And simultaneously, there's the story being told of a Japanese man who awakes to find himself in a large, all white rectangular room with no doors or windows.
Just how are these two stories connected? The answer is an existential journey into the energizing and inventive script of Matsumoto. For those who have seen his first feature Big Man Japan, in where a solitary middle-aged man periodically transforms into a giant to defend Japan from an array of monsters, you might have a little clue as to what you're getting into with Symbol. Let me assure you right now that Symbol is definitely its own monster, and perhaps one that will make both fans and newcomers to Matsumoto's work say WTF.
Perhaps the best film I could compare Symbol to would be Stanley Kubrick's sci-fi masterpiece, 2001: A Space Odyssey. Yes, it's a bold comparison, but an apt one as well. Just substitute Kubrick's towering monolith and epic wormhole sequence for Hitoshi Matsumoto's room full of baby penises and a penis wall climbing ascent into the future and you're basically looking at the same film.
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