A&E, Adolf & Eva / Adam & Eve, Mother
Plot
In the thought-provoking and surrealistically-inclined art film "Adolf & Eva / Adam & Eve," a haunting and enigmatic scene unfolds under the dark silhouette of a dead pine tree. The cinematic setup is stark, framing the main characters, Adolf (also referred to as Adam) and Eva (also referred to as Eve), against the stark backdrop of natural desolation. Eve, portrayed as a maternal figure, is seated against the trunk of the dead pine tree with Adolf or Adam, a slender and infantile figure, lying prone on the ground in her lap. The delicate balance between the stark stillness of nature and the idyllic intimacy of the mother-child scenario immediately sets the tone for a film that is as much a contemplation on the human condition as it is a challenging exercise in avant-garde visual storytelling. Throughout the scene, Eva Eve performs an act of primal nourishment, feeding Adolf Adam with her mouth, much like a bird feeding its young. This instinctual act imbues the scene with an air of primordial innocence and underscores the fundamental connection between the two figures. However, the profound tenderness of this moment is disrupted by Eva Eve's actions, as she takes her leave of Adolf Adam, abandoning him in the dirt. This ephemeral display of maternal instinct is an auspicious beginning to a film that effortlessly encapsulates themes of impermanence, abandonment, and the mercurial nature of relationships. As the film transpires, it becomes apparent that "Adolf & Eva / Adam & Eve" eschews a coherent narrative in favor of a series of enigmatic vignettes that collectively create a sense of disjointed time and fragmented perception. Without clear chronology or a discernible plot, the viewer is instead presented with a series of disconnected tableaux that illuminate the solitary existence of the central characters, oscillating between sublime intimacy and desolate isolation. The director's pronounced preoccupation with the relationship between the human body and nature is an ongoing leitmotif throughout the film. Adolf Adam and Eva Eve frequently wander amidst the picturesque yet desolate landscapes, often depicted in stark, high-contrast vignettes that underpin the feeling of stark existential uncertainty that pervades the narrative. The very way they interact with their surroundings – with branches scratching against Eva Eve's skin, with her collecting botanical fragments – emphasizes the inextricable link between the human experience and the unforgiving environment. Each fragment of narrative in "Adolf & Eva / Adam & Eve" serves as a thought-provoking reflection on the fundamental condition of human existence. Scenes wherein the protagonists interact with decaying organic matter serve as metaphorical reflections on the impermanence of existence and the constant passage of time. Conversely, those moments where Eve tames the unruly elements of nature illustrate the unyielding resolve inherent in the human spirit, suggesting that even in the face of desolation, individuals can resist and survive. One of the most compelling aspects of "Adolf & Eva / Adam & Eve" is its seamless fusion of the cinematic medium with the possibilities of performance art. By eschewing traditional narrative structures, the director imbues the film with a unique aesthetic of gradual, piecemeal unfolding. It is not merely a film about a mother and child, but perhaps a meta-research into the core essence of relationships – how they rise and fall, just like the impermanent objects in nature. Ultimately, "Adolf & Eva / Adam & Eve" is a poignant cinematic elegy that excavates the often-traumatic confluences between human existence and the vast, uncaring world that exists beyond the confines of our subjective experience. As the narrative hurtles toward an unspecified, enigmatic conclusion, the viewer is left pondering the often-glaring fault lines that exist between love, loss, and the merciless forces of time, all of which are juxtaposed within the realm of a filmmaking framework that, in its own manner, becomes a paradoxical symbol of its own fragile existence.
Reviews
Giovanna
8.8/10. The tragedy caused by Aum Shinrikyo was inevitable, but criticism without understanding its roots is meaningless. This film, as an observer, examines the daily lives and psychological shifts of cult members to explore the value and meaning of emerging religions. It portrays them as an ordinary group, a collection of people lost in the world—sensitive, vulnerable, and desperate. Religion is their everything. Our task is to explore and guide religious faith in people's hearts, not to oppose and eliminate it.
Paola
The persistence of Aum Shinrikyo in the hearts of followers after the Sarin gas attack is deeply thought-provoking. Facts and logic are useless; as long as the belief is deep enough, everything can be rationalized. This can be extrapolated to many things, and whether something is worth persisting with ultimately has no standard, especially since those who choose to become monks or nuns often do not accept secular social values. Ironically, those who haven't left the cult are really good at taking advantage in attitude – unable to produce a single apology for the ironclad case of the event a year prior, which makes it understandable why conspiracy theories exist for things like the Nanjing Massacre. They are wary of the media who will surely hold them accountable; it's impressive how Senda made them feel like 'one of their own'. Impressive, with a certain depth of character…
Zara
The most touching moment was when the volunteer on the street said they hoped Araki would strive and do his best as an individual, not for the cult or anything else. In the end, it highlights the East Asian cultural tendency to devalue the individual, with marginalized groups displaced by the burst of the bubble economy finding nowhere to belong. I admire Tatsuya Mori's respectful and humble approach to communicating with people. The documentary itself is clear-headed and powerful.
Samuel
Admiring Japan's academic freedom, even after the Sarin gas attack, universities can still invite Aum Shinrikyo for exchanges.
Rowan
A very down-to-earth "direct cinema" approach. The believers are portrayed as ordinary people, yet their conversations reveal a "dogmatic" conviction that runs deep.
