It seems grossly obvious to lump adjectives like "haunting" and "harrowing" onto Imamura's narrative about Hiroshima survivors dealing with bodily and psychological strain in the aftermath, particularly when the film is most affecting when it is least direct. The opening sequence of the bomb dropping is undeniably powerful, but the simple shot of black rain landing on a young girl's face is even more so. Restraining even reticence, Imamura cuts the shot short, limiting the possibility of catharsis through the symbolic image. What is shown on the surface is never so important as what is not, Imamura suggests throughout the movie, and that the most devastating wounds are those beyond visibility...
Read my full review of Black Rain here at The L Magazine.
Late to the party: Max Fischer & Nicholas Angel
2 months ago