7.9/10
3,081
35 user 43 critic

Eureka (2000)

Yurîka (original title)
The traumatized survivors of a murderous bus hijacking come together and take a road trip to attempt to overcome their damaged selves. Meanwhile a serial killer is on the loose.

Director:

Shinji Aoyama

Writer:

Shinji Aoyama

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4 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Kôji Yakusho ... Makoto Sawai
Aoi Miyazaki ... Kozue Tamura
Masaru Miyazaki Masaru Miyazaki ... Naoki Tamura
Yôichirô Saitô Yôichirô Saitô ... Akihiko
Sayuri Kokushô Sayuri Kokushô ... Yumiko
Ken Mitsuishi Ken Mitsuishi ... Shigeo
Gô Rijû Gô Rijû ... Busjack Man
Yutaka Matsushige ... Matsuoka
Sansei Shiomi Sansei Shiomi ... Yoshiyuki Sawai
Kimie Shingyôji Kimie Shingyôji ... Mito Tamura
Denden ... Yoshida
Eihi Shiina ... Keiko Kôno
Yûji Nakamura Yûji Nakamura ... Hiroki Tamura
Eimei Esumi Eimei Esumi ... Seiji Sawai
Yôko Noma Yôko Noma ... Kiyoko Sawai
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Storyline

The traumatized survivors of a murderous bus hijacking come together and take a road trip to attempt to overcome their damaged selves. Meanwhile a serial killer is on the loose.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

See all certifications »
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Details

Country:

Japan | France

Language:

Japanese

Release Date:

29 November 2000 (France) See more »

Also Known As:

Eureka See more »

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Box Office

Opening Weekend USA:

$14,470, 6 May 2001, Limited Release

Gross USA:

$46,635, 20 May 2001
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

DTS

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

There may be another inspiration for this movie. There was also a highly publicized bus hijacking in 2000 by a knife-wielding 17 year old in Hiroshima. He killed one and injured four others. See more »

Quotes

Makoto Sawai: Do you think one can live only for others?
See more »

Soundtracks

Eureka
Written by Jim O'Rourke
Performed by Jim O'Rourke
See more »

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User Reviews

 
Still waters run deep
28 March 2005 | by gmwhiteSee all my reviews

I wouldn't give many films a score of ten unless they were truly outstanding, not just better, but in a whole different league. It is a grade reserved for the likes of (if I may indulge in a little subjectivity) Tarkovsky's Stalker;, Kitano's Hana-Bi, In the Mood for Love' by Wong Kar-wai, Dreyer's Passion of Joan of Arc, Ozu's Tokyo Story; and very few others. It is more than mere technical brilliance, top-class acting, superb plot or camera-work. What each of these films possesses is sheer humanity, simultaneously painful and life-affirming.

Eureka deserves to stand proudly in such company, for Eureka is a film that is so human it makes most others seem either shallow, over-wrought, or just pretentious. Eureka's plot is a simple, its action, dialog and soundtrack is sparse, camera movement is minimal. The sepia-toned photography is indeed a marvel to look at, and each of the actors performs with such restrained naturalness that they don't seem like performances at all. The result is a film that is less like a story being told, and more like an experience that is undergone or a journey shared. If there is any 'art' involved, it is in producing a film so fragile, yet so accessible, so desperately and painfully human out of material so grueling and alien to most of us fortunate viewers. And in this respect, the movement of Eureka mirrors that of the protagonists, the three traumatised survivors of a bloody bus high-jacking. They are a brother and sister,and the bus driver himself. In the wake of the tragedy, after some months of wandering and inactivity, they are drawn back together and set out on a bus.

As may be gathered, this film is very much about the aftermath of tragedy, about how certain experiences may mark one off from the rest of society, and how with silence, stillness and human company, and most importantly, the passing of time, some form of healing may be glimpsed. And it is just a glimpse. Though the final scene is indeed moving, there is no big payoff, anymore than there might be in life itself. There is only the artistry of the film itself to transfigure the story, and it does this with such quiet, unobtrusive sympathy, that to call it 'artistry' seems almost to malign it. I haven't seen Aoyama's other films, so I can't say whether he is destined for a Tarkovsky-, Dreyer- or Ozu-like elevation to the cinematic pantheon, but this film is a refreshing example of the kind of deep humanity of the best directors, the best artists, one that marks a perfect 10 off from all the rest.


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