The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)
An eight-hour fiction shot for a total of twenty-seven weeks, over a period of fourteen months, in a village population forty-seven in the mountains of Kyoto Prefecture, Japan. It is a geographic description of the work and non-work of a farmer. A portrait, over five seasons, of a family, of a terrain, of a soundscape, and of duration itself. A film-as-adaptive-landscape. A georgic in five books.
Insights
Plot Summary
This unique film blurs the lines between documentary and fiction, observing the daily life of Tayoko Shiojiri and her family in the rural Shiotani Basin. Over the course of a year, the narrative unfolds through meticulously observed interactions, highlighting the rhythms of agricultural work, family dynamics, and the subtle beauty of their remote existence. The film captures moments of quiet contemplation and the unspoken bonds that tie the family together amidst the changing seasons.
Critical Reception
Critically acclaimed for its contemplative pace and profound observation of rural life and human relationships, 'The Works and Days' was lauded for its artistic merit and unique approach to storytelling. It resonated with audiences who appreciated its deliberate pacing and intimate portrayal of its subjects.
What Reviewers Say
- Praised for its patient and immersive observation of everyday life.
- Lauded for its subtle exploration of family dynamics and the beauty of the mundane.
- Appreciated for its unique blend of documentary and fictional elements.
Google audience: Audiences generally appreciated the film's quiet intensity and the intimate look into the lives of the Shiojiri family. Many found it to be a meditative and thought-provoking experience, though some noted its slow pace.
Awards & Accolades
Awarded the Golden Leopard at the Locarno Film Festival.
Fun Fact
The film was shot over a single year, with director Ryusuke Hamaguchi and his crew meticulously documenting the changing seasons and the daily routines of the Shiojiri family.
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