BIG BANG LOVE, JUVENILE (2006) Takashi Miike

An intense film, set in a theatrical setting, in which the director creates a picture of absolute beauty in every single frame.

A series of sublime images ( the horizontal staircase above all ) that fit into the plot of a mystery that is revealed slowly and sparingly.

It's a fantastic love story, especially because it's not a love story, it's something less and, without a doubt, something more.

A confession to a murder in a reformatory is the trigger in a film that doesn't follow a classic narrative line, and perhaps doesn't follow any.

This setting, which harks back to Fassbinder and Derek Jarman, frames a “non-place”: a prison where there are no walls, where every movement of the inmates seems to be part of a choreography and where dialogues alternate with long, exhausting silences.

A story in which time has no chronological value and scenes are repeated each time with a different meaning: the viewer is given the option to choose whether to follow the plot or let go and float along with the film.

And in the end everything is revealed, but with a solution that seems to say “ was there really a need for an explanation? ”.

The method used for the interrogation is a stroke of genius, in which the questions are not stated but superimposed on the images.

The exterior shots are huge and beautiful, artificial and picturesque. They nail the only real culprit: the rainbow.