Nobuhiko Obayashi was a true revolutionary of cinema. Most might know the filmmaker for his 1977 cult classic House. Obayashi has steadily been working behind the camera since then. Continuing to showcase his unique visual flair and ideologies of storytelling.
After his unfortunate passing in early 2020, Obayashi’s newest feature Labyrinth of Cinema took on the added context of being the director’s final effort. And is streaming as part of the 2020 Fantasia International Film Festival. Where unexpected, the film actually lives up to this title. Quite impressively not only being a showcase for the unique style of Obayashi but being a personal meditation on various subjects.
First and foremost, Labyrinth of Cinema is without a doubt a Nobuhiko Obayashi feature for better or for worse. Throughout his entire filmography, Obayashi played a great deal with various special effects and editing tricks. They gave his films a quirky and chaotic energy unlike any other. Where the visual effects themselves might not be the highest of quality, that never is the goal of them. Obayashi and the film overall is well aware of the campiness to the story, and wants it by design to feel like a bit of a fairytale.
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From floating holographic koi to decapitated heads comedically flying off of heads, the film is purposefully trying to use unique visuals to help set the stage for the world overall. Labyrinth of Cinema does not try to convince the audience that they are being transported to another world by trying to build a fantasy world as realistically as possible. Instead, the film embraces the chaos and camp which undoubtedly helps the film stand out. This style is captivating and humorous. Never taking itself too seriously while also never becoming too much of a joke to be distracting.
This is important because the depth within Labyrinth of Cinema. Where Nobuhiko Obayashi features might not be new to the concept of hiding deeper commentaries within their fantastical stories, Labyrinth of Cinema is easily one of the most personal reflections to date from his filmography.
From exploring his feelings on filmmaking, cinema, Japanese life following the war, modern-day global struggles, and beyond. Labyrinth of Cinema also gives Nobuhiko Obayashi one last chance to give his opinions on the world he interacts with. Now that he has the context of life behind him and feels hauntingly poetic in that sense.
The story being told mostly through a group of characters enjoying a marathon of classic Japanese war movies on the final night before a theater closes. Only to find themselves in the pictures themselves is also tremendously fun. The film takes the cliches found in both the filmmaking and characters of various genres in Japanese cinema, and turns them on their head for comedic effect. Clearly well thought out and funny, similar to the overall visual design, these jokes only add to the enjoyment and effectiveness of the film. And without ever taking away from it.
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It is important that the film has this source of comedy and is an enjoyable watch due to its runtime. Clocking in at just shy of 3-hours, the film definitely wears its duration. That said, the the film easily could be worse. Always at least being watchable with its humor and distinct identity.
It also does feel like it could have been cleaned up quite easily. There are multiple scenes that have a clear lack of urgency. And though they are watchable, they also achieve nothing that other scenes in the movie also achieve. Perhaps feeling a little unneeded, even if they don’t feel unwatchable.
There is a clear poetry within Labyrinth of Cinema. That easily could have been a bigger takeaway had the film become more focused and cut the fat from its runtime. The gimmick of the chaotic visual design mixed with its meditation on various subjects does wear a bit thin by the end. And turns what could have been an all-time classic into a simply “good” feature. Labyrinth of Cinema still serves as a justified sendoff for legendary director Nobuhiko Obayashi. Even if it won’t go down as his magnum opus.
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