Keisuke Kinoshita's She Was Like a Wild Chrysanthemum is a pastoral film in both tone and technique. There are long sequences of people slowly walking through pretty, outdoor backgrounds while quiet, introspective music noodles on and on. But it falls into a common trap of many pastoral films: one begins to wonder if these sequences were included not because the artist meant for them to mean something, but because they needed to pad the film out. Watching it, I didn't feel myself awakened to some enigmatic, esoteric truth the way the films of Andrei Tarkovsky and Béla Tarr do. I was instead bored by the outdoor sequences and frustrated by the overly melodramatic plot. Can anyone tell me why the villagers and townsfolk were so needlessly cruel to the teenage couple? I know they were cousins, but I was under the impression that cousins shacking up and getting married wasn't much of a big deal in Japan. So why was it here? The oval-shaped masks over the lengthy flashback sequences lost their meaning and beauty after the first hour of their use. It just felt unnecessary, much like the rest of this film.
6/10
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