Though only the second feature by the Australian director Sue Brooks (and the first to open in this country), Japanese Story is an almost perfectly calibrated small work, like a finely shaped short story. About the serendipity of crossing paths with a stranger, it’s a sort of companion piece to Lost in Translation, but with an entirely different tone.
Robert S. McNamara, the focus of The Fog of War, an Academy Award–nominated documentary directed by Errol Morris (The Thin Blue Line), served as secretary of defense under the two presidents who took the U.S. into Vietnam—John Kennedy and Lyndon Johnson.
Before the advent of drug traffickers and serial killers, films often focused on conflicts over real estate. Think of the red dirt of Tara in Gone With The Wind, the stately mansion in The Magnificent Ambersons or the contested open plains in Shane. Property is also the focal point of House of Sand and Fog, based on the 1999 novel by Andre Dubus III.
So that things contrary to common sense Seem suddenly truth revealed And some unappealing sight Is clearly Imago Dei, devilishly alight As though lit within at core By the very darkness we abhor And symbols of my soul’s best hope are cast As models of betrayal, despair and death; Then, Eve’s fruit tasted and offered to Adam Becomes Mary’s Gift as First Fruit Of a new covenant of pardon And the abandoned Garden Because of Him Becomes the New Jerusalem;
So, let that mind be also in me, The one that takes in my off-stage acts, You know, Those walk-the-walk naked facts, Even my sneaky judas-pacts And transforms them all Into something nothing short of new, Like being born, Like out of any godforsaken Friday Easter morn.