The query suggests questioning the existence of evil. In simpler terms, this could be rephrased as "Is evil a non-entity?" or "Does evil have no reality?" Both questions imply the same underlying curiosity about the existence or nature of evil.
Renowned Japanese director Ryusuke Hamaguchi's latest film, "Evil Does Not Exist" (2023), offers a thought-provoking exploration of the delicate balance between humanity and nature. Set in a small, picturesque village, the film follows the life of Takumi, a woodcutter, and his young daughter Hana, as they navigate the challenges of urban encroachment and environmental degradation.
The film serves as a poignant meditation on environmental stewardship and generational consequences, contrasting the peaceful aspects of their life with the encroaching impacts of urbanization and capitalism. At its core, "Evil Does Not Exist" delves into the concept of evil and theodicy, questioning the role of human actions in disrupting the balance between humanity and nature.
In comparison to Hamaguchi's previous work, "Drive My Car" (2021), which won the Oscar and BAFTA for Best International Film, "Evil Does Not Exist" presents a darker and more minimalist tone. While "Drive My Car" focuses on personal relationships and grief, "Evil Does Not Exist" centres on the broader implications of human actions on the environment.
Both films, however, share a profound emotional depth and a commitment to exploring complex human relationships. Hamaguchi's use of long takes and detailed character development creates a sense of intimacy and immediacy with the characters, making both films deeply engaging and thought-provoking.
"Evil Does Not Exist" also references religious texts, such as Psalm 73:22, to explore the concept of evil. The film suggests that evil may not be an independent entity, but an accumulation of poorly understood human actions and nature's actions beyond judgment.
Jonatan Soriano, a journalist, theologian, and evangelical pastor in Barcelona, is associated with the film's discussion on evil and theodicy. His insights offer a unique perspective on the film's themes, adding depth to the narrative and encouraging viewers to question their own beliefs about evil and the role of humanity in the world.
In "Evil Does Not Exist", nature serves as a stark backdrop to the human struggle, portrayed as raw and rugged, in contrast to the more friendly natural environment in "Drive My Car". The film implies that external intervention, such as God incarnate, is necessary to reverse decadent inertia and turn it into a path to salvation.
However, the film also presents a worldview where the only way to avoid living more 'badly' seems to be to simply die and let go. This brutal portrayal of life suggests that humanity must accept its role in the world and the consequences of its actions, without the need for external salvation.
In conclusion, "Evil Does Not Exist" is a powerful and thought-provoking film that challenges viewers to question their beliefs about evil, nature, and humanity. Through its poignant storytelling and stunning cinematography, the film offers a unique perspective on the world and encourages viewers to contemplate their role in it.
The thought-provoking exploration of "Evil Does Not Exist" delves deep into the realms of entertainment, offering a unique blend of cinema and theologian-driven discussions on the complex concepts of evil, nature, and human responsibility. This movie, a part of Hamaguchi's diverse filmography in movies-and-tv, presents a stark contrast to his previous work while still maintaining the emotional depth and intricate character development that define his cinematic style.
