News and Opinion
Kurosawa Kiyoshi has long been one of my favorite filmmakers, but one I’ve found very hard to talk about. Perhaps that difficulty is one reason I like him so much: his films resist our ability to comfortably confine them in words, and challenge our systems of knowledge and perception. That’s one reason they are so attractive but also so frightening.
That’s also why I have always been at somewhat of a loss when I encounter articles on Kurosawa that profess to know him or his works through some allegorical, postmodern, or ecocritical methodology. There’s a lot we can learn about Kurosawa from such articles, but it still stikes me that many of them were less watching his films in their complexity than imposing their interpretations. And given that Kurosawa’s films are populated with detectives and detective-like figures whose interpretations are problematic, that approach can be self-defeating, if not blind to what’s going on in the films. They effectively offer comfort against a set of films that are fundamentally disturbing.