Shinrin-yoku, which translates as “forest-bathing,” was a Japanese invention of the 1980s: a meditative therapy that connects burnt-out urbanites with the healing power of nature. Evil Does Not Exi…
These extended shots are crucial to our understanding of what is at stake when news comes that a Tokyo company, Playmode, has acquired land near the village and is rushing through plans to build a glamping site. Tokyo is not far away, but this has never been a tourist destination; their single noodle restaurant, which uses the fresh water Takumi collects, is a pitstop for locals.
Ostensibly, the scene has now been set for a story of a community’s victory over fat cats – a story we have witnessed many times, on screen if not quite enough in life – where everything gets sorted out and the audience leaves feeling the world is going to be all right after all. When the two company reps return reluctantly to the village, having been told to buy off the most articulate objectors by offering them jobs, it seems as if they might join the cause themselves.
Hamaguchi has a remarkable gift for letting conversations meander into unexpected corners, as they can do when two people are sitting side by side in a car; without intending to change each other’s lives, these two salary persons scrape away each other’s defenses until their discontents are exposed to the crisp air. He admits he is lonely. She says that what she most likes about working for Playmode is “it’s full of scumbags, just as I expected… there’s no whitewashing.” It isn’t much to like.
But then – of course – the tone swings again, taking us into a darker story as night falls. Hamaguchi is not interested in taking the easy road to a satisfactory resolution. On the contrary; his story runs up hard against any kind of easy ending. Nature is nourishing, but harshly indifferent to the people who idealize it; quiet animals, including human ones, can be ferocious when threatened; good people may have fury within them.
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