New Religion
I don't often take an interest in yet-to-be-released films, because there's always a considerable chance I won't be able to get to them (which just leads to endless frustration and disappointment). Keishi Kondo's New Religion is a notable exception. Several people contacted me about the film before it found its way to the general public, and the promo material did look pretty inviting. I was delighted when it finally managed to land a proper home release, and Kondo's first didn't disappoint in the slightest. New Religion is one of the best films I've seen in ages.
The only downside is that the film had to rely on crowdfunding in order to get made. While it's a great example of people from around the globe chipping in to give talented artists a shot at bringing their vision to life, it's still a pretty random and unsustainable way to fund a professional career. While it's great that a film like New Religion got made, I'm afraid it won't be a precursor to any similar films appearing in the near future, whereas success through more traditional channels often gives chances to a broader array of similar-minded directors. Still, let's be happy with what we've got.
While it's a little early for a full-blown 00s revival, New Religion did remind me of the Japanese cinema of that decade. It's a pretty slow, cryptic, and conceptual film that left me puzzled more than once. Kondo isn't afraid to keep his audience guessing, he doesn't mind interjecting scenes that are purely there for mood-building and even though the gist of it should be clear once the film is finished, not everything needs to be properly explained or made clear. Choices that may not gel well with the current take on what makes a good film, but which I can only applaud vigorously.
One moment of inattentiveness and Miyabi's daughter is gone forever. She feels incredibly guilty and has trouble getting on with her life, but she has to make ends meet and so she takes up a job as an escort. She is good at what she does and she finds another man, but the shadow of her daughter's death still looms over her life. One day she meets up with a new client, who wants to take photographs of her. Technically forbidden, Miyabi obliges, as her client seems harmless enough and it's easy money. Soon after, she gets the feeling her daughter is trying to communicate with her from beyond the grave.
Though clearly made on a tight budget (that's what crowdfunding comes down to), New Religion looks absolutely stunning. Smart use of monochrome colors, minute framing, and more abstract interludes all help to create a densely mysterious atmosphere. The image quality is a little fuzzy and Kondo likes an overexposed shot, elements that only solidify the link with the 00s. Kondo illustrates you don't need a hefty budget to create a beautiful-looking film, not exactly a shocking revelation, but it's nice to get a reminder from time to time, especially for films going all-in on mood.
The soundtrack even takes it up a notch. Going for distorted drones and soundscapes isn't the most original choice for a score, but it is an effective one when executed well, and Kondo understands that a tighter synergy between sound and image can really have a big overall impact. It's rare to see a soundtrack that is really tailored to the film, acting as a vital part to set the mood and regulate the pacing, which is why I was so delighted to find it here. Music and sound remain underused and undervalued elements to enhance a film, and Kondo made excellent use of them to accomplish exactly that.
Kondo also found himself a strong cast. For a film with a minor budget and an outspoken focus on the atmosphere, he definitely could've gotten away with lesser performances. Ultimately, I'm pretty happy he made the effort as there lies some deep trauma at the core of this story, so it's nice to have actors who can do justice to the drama. Seto (as Miyabi) is the biggest revelation here, hopefully, this film can be a stepping stone for the rest of her career as I feel she'd do very well in more regular dramas. The rest of the cast is good too, just a little less noticeable.
New Religion is tense and mysterious from the very start, but it takes a while before Kondo reveals where his story is leading us. And even then, it's quite difficult to predict where exactly the film is going to end up. The mix of mystery, horror, and drama is very balanced, Kondo only reveals information sparingly (and he doesn't mind being a little obtuse in order to strengthen the mystery). I loved this uncertainty and unpredictability, as it's not something I experience too often nowadays, but it's no doubt a risky move that will alienate part of the audience.
New Religion is exactly the type of cinema I love but is hard to come by these days. It's a film that is all vibe and mood, strengthened by meticulous stylistic choices, a mysterious and befuddling plot, and strong, captivating performances. Keishi Kondo establishes himself as a talented, confident, and gutsy director, someone who is bold enough to chase a personal vision instead of trying to please a broader audience. This film won't be everybody's cup of tea, but if you like films with a unique twist, be sure to give this one a go when you get the chance. Let's hope this is the start of a fruitful career for Keishi Kondo.