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.
I’m not sure why I found it so endearing, the surgeon’s always saying, upon hearing his patient’s slightly hopeful rephrasing or reply just after he’s been told the how and the why of the surgery or recovery, a fine-mineral fear inset in optimism, “From your mouth to God’s ear.” The surgeon said it encouragingly, with a smile. Considering it, it took me only a little while to realize what it signified: “We can’t really know, but it’s good to hope so. Who knows? Let’s hope so. But also don’t mistake my taking of a measure, my neutral explanation. Elsewhere is your treasure or rescue, if any exists. Nothing is promised, either.” By then, I was content to drift in uncertainty’s ether.