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Barren Illusions (1999)

Ôinaru gen'ei (original title)
In future Japan, a dangerous pollen falls upon Tokyo, endangering its populace. Two people volunteer to become tests subject for a drug that could possibly provide a cure.

Director:

Kiyoshi Kurosawa
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Cast

Credited cast:
Shinji Aoyama
Shirô Atami Shirô Atami
Shingo Ichizawa Shingo Ichizawa
Kazushige Inami Kazushige Inami
Takeshi Ishizumi Takeshi Ishizumi
Yûichirô Izumi Yûichirô Izumi
Shunpei Kawaguchi Shunpei Kawaguchi
Taeko Kobayashi Taeko Kobayashi
Reiko Kondo Reiko Kondo
Yae Konishi Yae Konishi
Masamichi Matsumoto Masamichi Matsumoto
Shôgo Motomiya Shôgo Motomiya
Yôko Muranushi Yôko Muranushi
Miki Nakata Miki Nakata
Yôko Oguchi Yôko Oguchi
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Storyline

In future Japan, a dangerous pollen falls upon Tokyo, endangering its populace. Two people volunteer to become tests subject for a drug that could possibly provide a cure.

Plot Summary | Add Synopsis

Genres:

Drama | Romance | Sci-Fi

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Details

Country:

Japan

Language:

Japanese

Release Date:

11 December 1999 (Japan) See more »

Also Known As:

Barren Illusion See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color
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Featured in Demonlover (2002) See more »

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User Reviews

 
Contemporary filmmaking at its best
27 February 2002 | by LGwriter49See all my reviews

Kiyoshi Kurosawa's 1999 masterpiece, Barren Illusion, is a razor-sharp dissection of contemporary Japanese culture which depicts its subject as being so devoid of its own identity that it's almost completely co-opted by mundane Western artifacts. In scene after scene--sometimes subtly, sometimes not so subtly--Kurosawa shows objects with obvious English language markers as critical components of required activity in day-to-day lives. And an all-Japanese music group intermittently shows up pounding on an assortment of Brazilian drums to emphatically demonstrate their (read, the culture's) need to immerse themselves in something completely different from what they are.

To emphasize this more dramatically, Kurosawa has the male lead, a sometime musician, occasionally fade in and out of his surroundings, as though a being who senses intelligently and who, at the same time, is an integral component of his culture, could not (or, perhaps, should not) exist if the culture itself has so little identity. In Woody Allen's Deconstructing Harry a character becomes blurred on screen, but that was a psychological observation linked to the individual's personality. Kurosawa's disappearing act is quite different, much more emphatically connecting the individual to his culture.

There is no real plot in the film, but the intelligence Kurosawa brings to bear is so powerful, a plot is not necessary--nor would it work. He frequently has his characters repeat the same banal action in the same scene (stamping postal documents, kicking a balloon around), indicating much more than a lack of imagination. It is, Kurosawa says, the sterility of a culture that engenders repetitive, non-thinking (i.e., sterile) behavior.

The female lead, a postal worker, is shown involved in activities (in two different scenes) which surely would result in her death--jumping off a building and being severely beaten by a gang of thugs. Yet in each case, she's shown in the immediately following scene alive and whole. How can one die when one does not really live?

This is a brilliant work, very highly recommended. It's a shame that none of Kurosawa's work is available in the U.S. on DVD or video. Rumor has it that Cure, another superb film, will be available in Summer 2002 domestically on DVD.


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