Review - Evil Does Not Exist
Directed by: Ryusuke Hamaguchi
Written by: Ryusuke Hamaaguchi
Starring: Hitoshi Omika, Ryo Nishikawa, Ryuji Kosaka, Ayaka Shibutani
Running Time: 106 minutes
Rating: 3.5/5
Renowned filmmaker Ryusuke Hamaguchi, celebrated for the recent cross-cultural success of Drive My Car, which earned two Oscar nominations, and Wheel of Fortune and Fantasy, a critical favorite in 2022, has unveiled his latest work, Evil Does Not Exist. Anticipation surrounded this release as audiences eagerly awaited the follow-up from such a prolific cinematic year.
The narrative opens in the Japanese village of Harasawa, a town of people who lead very quiet lives. Takumi, a skilled handyman, and his daughter reside in the secluded woods, enjoying a peaceful existence. However, their tranquility is disrupted when a new business endeavors to establish a glamping site nearby (an abbreviation for glamorous camping). The ensuing plot revolves around the business's attempts to gain community approval for their plans. Yet, as the townsfolk, led by Takumi, pose insightful logistical inquiries, the business realizes that their venture will encounter formidable opposition.
While the premise may initially evoke a conventional conflict between rural and urban lifestyles, Hamaguchi's film diverges from typical plot structures. Surprisingly, the glamping site's proposal emerges only midway through the movie.
The film explores the theme of corporate apathy, highlighting the perils of prioritizing profit over the well-being of small, local enterprises. The narrative unveils the potential environmental ramifications of the glamping site, including unattended facilities and the risk of sewage runoff affecting local streams and nature. The business, driven by concerns for construction deadlines and tax breaks, appears oblivious to the broader impact on the site's surroundings and inhabitants.
In thematic continuity with Drive My Car, making it a perfect partner. Hamaguchi crafts a patient and contemplative cinematic experience, inviting viewers to adopt a macro perspective on their environment and the people within it. The performances and narrative captivate, yet by the film's conclusion, a discernible thematic resolution proves elusive. While not inherently confusing, the film concludes abruptly, leaving audiences in contemplation and searching for definitive answers.
