Mokunoshin lives more in his imagination than reality. He is a young samurai in feudal Japan who has not fought, much less killed anyone. Mokunoshin is helping villagers harvest rice, nursing a crush on Yu and sparring with her brother, when opportunity knocks. An experienced warrior is forming a fighting unit to raid the capital and tries to recruit Mokunoshin, who is doubtful he can leave Yu. Caught between his calling and his heart, Mokunoshin hesitates. The first kill is hardest, but doubt may prove tougher still.
Killing is a minimalist film that takes advantage of the beauty of natural light and simple sets and dialogue. It is a good antidote to all the CGI that seems to dominate film these days. I thoroughly enjoyed the opportunities to appreciate the primal pulse of drumbeats and rainfall, and splendor of fire, shining steel, drifting clouds and the mist filled and mysterious cedar forests of Japan. Even so, it is hard to tell what is going on in the action scenes when the camera moves so much. The film was shot in three weeks in the north of Japan according to the director who was at this 2018 Toronto International Film Festival screening.
Killing is a minimalist film that takes advantage of the beauty of natural light and simple sets and dialogue. It is a good antidote to all the CGI that seems to dominate film these days. I thoroughly enjoyed the opportunities to appreciate the primal pulse of drumbeats and rainfall, and splendor of fire, shining steel, drifting clouds and the mist filled and mysterious cedar forests of Japan. Even so, it is hard to tell what is going on in the action scenes when the camera moves so much. The film was shot in three weeks in the north of Japan according to the director who was at this 2018 Toronto International Film Festival screening.