{"id":639574,"date":"2024-09-25T16:57:49","date_gmt":"2024-09-25T13:57:49","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/watch-serpents-path-review-kiyoshi-kurosawas-compelling-self-remake\/"},"modified":"2024-09-25T16:57:49","modified_gmt":"2024-09-25T13:57:49","slug":"watch-serpents-path-review-kiyoshi-kurosawas-compelling-self-remake","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/watch-serpents-path-review-kiyoshi-kurosawas-compelling-self-remake\/","title":{"rendered":"Watch &#8216;Serpent&#8217;s Path&#8217; Review: Kiyoshi Kurosawa&#8217;s Compelling Self-Remake"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_85 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a3b629a78953\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a3b629a78953\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-1'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/watch-serpents-path-review-kiyoshi-kurosawas-compelling-self-remake\/#%E2%80%9CWatch_Online_%E2%80%98Serpents_Path_Review_Kiyoshi_Kurosawas_Compelling_Self-Remake%E2%80%9D\" >&#8220;Watch Online &#8216;Serpent&#8217;s Path&#8217; Review: Kiyoshi Kurosawa&#8217;s Compelling Self-Remake&#8221;<\/a><ul class='ez-toc-list-level-2' ><li class='ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/watch-serpents-path-review-kiyoshi-kurosawas-compelling-self-remake\/#%E2%80%9C%E2%80%98Serpents_Path_Review_Kiyoshi_Kurosawas_Compelling_Self-Remake%E2%80%9D\" >&#8220;&#8216;Serpent&#8217;s Path&#8217; Review: Kiyoshi Kurosawa&#8217;s Compelling Self-Remake&#8221;<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h1><span class=\"ez-toc-section\" id=\"%E2%80%9CWatch_Online_%E2%80%98Serpents_Path_Review_Kiyoshi_Kurosawas_Compelling_Self-Remake%E2%80%9D\"><\/span>&#8220;Watch Online &#8216;Serpent&#8217;s Path&#8217; Review: Kiyoshi Kurosawa&#8217;s Compelling Self-Remake&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h1>\n<h2><span class=\"ez-toc-section\" id=\"%E2%80%9C%E2%80%98Serpents_Path_Review_Kiyoshi_Kurosawas_Compelling_Self-Remake%E2%80%9D\"><\/span>&#8220;&#8216;Serpent&#8217;s Path&#8217; Review: Kiyoshi Kurosawa&#8217;s Compelling Self-Remake&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    \u201cThe first version is the work of a talented amateur,\u201d said Alfred Hitchcock to Fran\u00e7ois Truffaut of his 1934 thriller \u201cThe Man Who Knew Too Much,\u201d remade by Hitch himself in 1956. \u201cThe second was made by a professional.\u201d Few are the filmmakers who gather sufficient career mileage and goodwill to take a second pass at their own work; fewer are those who make something worthwhile in the process. (A moment of silence, please, for George Sluizer\u2019s botched English-language redo of \u201cThe Vanishing.\u201d) But Kiyoshi Kurosawa, not unlike Hitchcock, is the kind of tireless genre craftsman who seems to <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">app<\/a>roach every feature as a test of his own proficiency: \u201cSerpent\u2019s Path,\u201d a brisk, harsh and, yes, clinically professional update of his own 1998 thriller of the same title, passes said test without a moment\u2019s strain.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    There\u2019s no urgent reason to remake \u201cSerpent\u2019s Path\u201d except, one presumes, the primarily self-serving pleasures of doing so. The original, a cold-blooded little revenge tale that twists itself into ever more perverse psychological contortions, was never a major work, and Kurosawa\u2019s new version (co-written by him, unlike its precedessor, which he only directed) doesn\u2019t seek to significantly expand it. Switching the gender of one key character, however, does much to invigorate a narrative heavily carried over from the original, as does relocating the action from Japan to France \u2014 making for a Gallic dalliance more suited to Kurosawa\u2019s sensibility than his first French-language effort, the wan 2016 ghost story \u201cDaguerrotype.\u201d Having already been released in Japan months ahead of its international premiere in competition at San Sebastian, \u201cSerpent\u2019s Path\u201d should snake its way quietly through global arthouses.  <\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    It begins with a kidnapping, the brief run-up to which establishes the contrast in sensibilities between its two principal characters: jittery, wound-up Frenchman Albert (Damien Bonnard) and unnervingly composed Japanese psychiatrist Sayoko (K\u00f4 Shibasaki), a female rewrite of the role played by Sho Aikawa in the earlier film. Despite his cold feet when they meet outside an anonymous Parisian office building, her sangfroid prevails as they enter, closing in on drab-suited accountant Laval (Mathieu Amalric), before tazing the man, zipping him into a body bag and tossing him in the trunk of their car. This brisk, bloodless opening salvo sets the tone for a film that will proceed very much on an \u201caction first, explanation later\u201d basis.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    Once Laval comes to, firmly chained to the wall in a grimy out-of-town warehouse, some details begin to emerge. Wheeling in a television trolley in a manner amusingly redolent of a \u201990s schoolteacher, Albert proceeds to show him grainy video footage of a young girl he says is his late eight-year-old daughter \u2014 abducted and violently murdered in a child-trafficking conspiracy rooted in Minard, the sinister corporation for which Laval works. This grisly backstory \u2014 eventually pulling two other Minard employees (Gr\u00e9goire Colin and Slimane Dazi) into the tie-up-and-torture party \u2014 makes some sense of Albert\u2019s feral hair-trigger energy, though not one of his captives seems reliable in their testimony, as the apparent shape and scope of this dastardly alleged plot remain elusively in flux.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    Hardest of all to read, however, are Sayoko\u2019s motives in Albert\u2019s revenge mission, as the nature of their relationship, too, gets blurrier the more closely we examine it. Not that we ever get all that close: DP Alexis Kavyrchine frames much of the action in taunting, even alienating wide shot, making such rare treasure of close-ups that we risk reading more into them than we should. <\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    Has Sayoko masterminded this project as a kind of extreme therapy session for an emotionally frail patient? An obliquely connected subplot detailing her treatment of Yoshimura (\u201cDrive My Car\u201d star Hidetoshi Nishijima), a depressive immigrant suffering from extreme culture shock, provides more brain-teasing possibilities than clarifying context, while Shibasaki\u2019s terrific, poker-faced performance is essential to keeping the guessing <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/game\/\" data-internallinksmanager029f6b8e52c=\"7\" title=\"Game\" target=\"_blank\" rel=\"noopener\">game<\/a> going \u2014 in some scenes, her unruffled efficiency acts as a calming counter to Albert\u2019s percolating mania, while in others, we catch a glimpse of a frozen, unyielding and perhaps irrational core.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    Yet for all the agile, unpredictable narrative maneuvrings of Kurosawa and Aurelien Ferenczi\u2019s script, the chief rewards of \u201cSerpent\u2019s Path\u201d lie less in its grand design than in its eccentric, coolly witty details: the steady but unexcitable pace of its rising body count, the increasingly absurd repetition of Albert\u2019s video show-and-tell act, and repeated scenes in which Kurosawa and Kavyrchine\u2019s camera patiently observes the rotating circuit of a living-room Roomba, granting the machine a banal yet inexorably escalating air of menace. These are the incidentals a filmmaker can afford to prioritize in a story they\u2019ve already told once before: \u201cSerpent\u2019s Path\u201d may never feel like more than an exercise for its well-practised helmer, but it\u2019s an offhand, enjoyable flex.<\/p>\n<\/div>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMN63nwsw68G3Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/watch-movies-tv-seriess\/\" target=\"_blank\" rel=\"noopener\">Watch Movies &#038; TV Series <\/a><\/span>category<\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/variety.com\/2024\/film\/reviews\/serpents-path-review-1236152672\/\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Watch Online &#8216;Serpent&#8217;s Path&#8217; Review: Kiyoshi Kurosawa&#8217;s Compelling Self-Remake&#8221; &#8220;&#8216;Serpent&#8217;s Path&#8217; Review: Kiyoshi Kurosawa&#8217;s Compelling Self-Remake&#8221; \u201cThe first version is the work of a talented amateur,\u201d said Alfred Hitchcock to Fran\u00e7ois Truffaut of his 1934 thriller \u201cThe Man Who Knew Too Much,\u201d remade by Hitch himself in 1956. \u201cThe second was made by a professional.\u201d&#8230;<\/p>\n","protected":false},"author":1,"featured_media":639575,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/variety.com\/wp-content\/uploads\/2024\/09\/Hebinomichi_Filmpicture_30410-e1727015767298.jpg?w=1000&h=563&crop=1","fifu_image_alt":"","footnotes":""},"categories":[19],"tags":[],"class_list":["post-639574","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-watch-movies-tv-seriess"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/639574","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=639574"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/639574\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/639575"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=639574"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=639574"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=639574"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}