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The Face of Another: Individuals Behind a Screen

Updated: Feb 27, 2023


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  • @hk_movieaddict

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โ€œ๐™ผ๐šŠ๐šœ๐š”๐šœ ๐š•๐š’๐š”๐šŽ ๐š๐š‘๐š’๐šœ ๐šŒ๐š˜๐šž๐š•๐š ๐š๐šŽ๐šœ๐š๐š›๐š˜๐šข ๐šŠ๐š•๐š• ๐š‘๐šž๐š–๐šŠ๐š— ๐š–๐š˜๐š›๐šŠ๐š•๐š’๐š๐šข. ๐™ฝ๐šŠ๐š–๐šŽ, ๐š™๐š˜๐šœ๐š’๐š๐š’๐š˜๐š—, ๐š˜๐šŒ๐šŒ๐šž๐š™๐šŠ๐š๐š’๐š˜๐š— - ๐šœ๐šž๐šŒ๐š‘ ๐š•๐šŠ๐š‹๐šŽ๐š•๐šœ ๐š ๐š˜๐šž๐š•๐š ๐š—๐š˜ ๐š•๐š˜๐š—๐š๐šŽ๐š› ๐š–๐šŠ๐š๐š๐šŽ๐š›. ๐š†๐šŽ ๐š ๐š˜๐šž๐š•๐š ๐šŠ๐š•๐š• ๐š‹๐šŽ ๐š™๐šŽ๐š›๐š๐šŽ๐šŒ๐š ๐šœ๐š๐š›๐šŠ๐š—๐š๐šŽ๐š›๐šœ ๐š๐š˜ ๐š˜๐š—๐šŽ ๐šŠ๐š—๐š˜๐š๐š‘๐šŽ๐š›.โ€


Pushing the envelope even further, The Face of Another is a bold venture into experimental / avant-garde films. While itโ€™s not for everyone, the story never deviates from the main themes of Teshigahara / Abe works i.e., the loss of identity within an absurd scenario, and the search for meaning of life.

Recovering from a work-related accident, Mr. Okuyama took the offer to wear a new and handsome prosthetic face. As he assumes new identify under the mask, his more erratic and evil intentions also begin to surface. The Psychiatrist famously commented during the beautiful Waltz scene, that โ€œmasks like this could destroy all human moralityโ€. The mask/face represents the ability to hide and escape from reality, which somewhat resonates with the world weโ€™re now living in, like individuals behind a screen.


The narrative is abstract and experimental, much like the Psychiatristโ€™s surrealistic clinic design (constructed by Arata Isozaki who drew inspirations from the legendary Antoni Gaudรญ). The side-story of the beautiful girl with severe disfigurement on the right cheek has no connection with the main story, while both characters suffer from alienation. The girlโ€™s constant worry about another war and memory about the sea at Nagasaki suggest that her physical injury and mental trauma were caused during WWII, which carries a subtle but clear anti-war message.

Iโ€™d leave the rest to interested viewers to unveil the mask themselves. Overall, Iโ€™m under the impression that only Hiroshi Teshigahara was able to adapt Kobo Abeโ€™s novels, which are often thought to be excellent but unfilmable.


๐•ฏ๐–Ž๐–—๐–Š๐–ˆ๐–™๐–Š๐–‰ ๐–‡๐–ž: Hiroshi Teshigahara

๐–‚๐–—๐–Ž๐–™๐–™๐–Š๐–“ ๐–‡๐–ž: Kรดbรด Abe

๐•ป๐–‘๐–†๐–ˆ๐–Š ๐–”๐–‹ ๐–”๐–—๐–Ž๐–Œ๐–Ž๐–“: Japan

๐•ฝ๐–š๐–“๐–™๐–Ž๐–’๐–Š: 2 hours 4 minutes

๐•ญ๐–Š๐–˜๐–™ ๐–˜๐–ˆ๐–Š๐–“๐–Š: (~81 mins) โ€œWaltzโ€ scene

๐•พ๐–”๐–š๐–—๐–ˆ๐–Š: Criterion

๐•ธ๐–ž ๐•ฝ๐–†๐–™๐–Ž๐–“๐–Œ: 78/100


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