Asymmetrical, yet perfectly balanced.
This quote about one of the church buildings featured here is a perfect summation of the feel of this film. It is impeccably shot, and I was blown away by the way Kogonada uses the space to both capture the beauty of buildings and rooms and also frame the characters giving them an atmosphere and mood through which we can interpret their actions. It’s really a masterful work, especially for a directorial debut feature.
Every shot looks a bit asymmetrical and yet feels like it is exactly how it should be. There doesn’t seem to be a wasted frame or a wasted angle. The way the characters move throughout this space, a town full of meaningful architecture that most people are ignorant of, speaks to the inner life of the characters who both have hurt that people are ignorant of. There is a bit of grief felt at how unappreciated this town’s beauty is by most who drive or walk its streets. And there is grief in the fact that these characters pass by people every day who do not know the inner complexity of what their souls wrestle with. And somehow Kogonada captures this just with the angle he chooses, the building he shows in a transition shot (though I hesitate to call it that because these shots hold much more intent than just transitioning), the way he shows people moving through a frame. It’s really incredible.
This film makes me want to be more aware of my surroundings. To appreciate the buildings, nature, and art that I pass by every day. To acknowledge and care about the hearts and souls of the people I pass by every day. To see.
Are we losing interest in everyday life?
