"Evil Does Not Exist" is built on a lot of empty shots and music. Understanding this particular origin is the prerequisite for entering the film. When the panoramic shot of the dense forest is shown, the music suddenly stops, followed by the appearance of characters and voices. After that, the perspective shifts from the natural landscape to the people. Therefore, people always become interveners and destroyers in the film - even if they are residents living in harmony with nature. The capital's commercial intentions serve as a clear line in the film, shining brightly like bayonets, hanging over the threat to this dense forest. In reality, this curtain has been pierced since the first residents arrived after the war. Company representatives are outsiders and intruders to the residents, and they are also such to nature. Although the residents live in the countryside, their lifestyle and cultural environment are still modern. They play grand pianos, drive cars, and have exquisite modern tableware. They are grey people between nature and the city.
In addition to the contemplative shots, two intense discussion scenes stand out in the film. This is a signature of Ryûsuke Hamaguchi's style, and a key way he develops his characters, using dialogue and pacing to convey their convictions. In the first discussion, two opposing camps emerge, representing "justice" and "evil" within the film's context. The genuine concerns of the "justice" side appear futile and tragic in contrast to the manipulative tactics of the "evil" side, making the audience's emotional alignment clear. The second conversation, which takes place in a car between two company representatives, showcases witty banter that adds depth to their characters. As they gradually show empathy towards the residents and nature, they become endearing, and their evil nature seems to fade away. This twist is presented lightly and is easily accepted by the audience, adding a layer of subversion to the film.
Just as the audience and characters were about to reach a shared consensus that "evil" doesn't exist, the gleaming bayonet was still hanging ominously in the background. The film then took another subversive turn: "Justice" exploded into a grotesque display of "evil." As the most controversial scene, it was bound to enrage viewers from the start - it shattered the audience's consistent understanding and dissolved their imagination of "people living in harmony with nature," but the film had no intention of pacifying them. Instead, it ended defiantly. Unlike previous transitions that provided sufficient reasons and context, this major shift was highly destructive for the audience.
The creator intentionally portrayed the ending vaguely and abstractly. No matter how much one tries to speculate and analyze the motivations and metaphors behind the deer and Takumi's actions, or attempts to reconstruct the actual events, it largely remains subjective. Both simple and complex interpretations are inappropriate. As Ryûsuke Hamaguchi himself said, doubt is one of the purposes of this scene.
The film aims to convey that every judgment carries shades of gray. What appears beautiful often harbors hidden dangers, such as gunshots, roadside skeletons, and thorny plants. Even sudden acts of evil have their explanations. The residents, represented by Takumi, now find themselves in the gray area between "right" and "evil." While the prevailing consensus was that "evil does not exist," the film's subversion in its conclusion serves more as a challenge to conventional thinking rather than a logical or preachy assertion. Therefore, overly analyzing the film may seem superficial. The question of "why" is left for the audience to ponder in their own lives long after leaving the theater. This is the richness that cinema can offer us.
Ryûsuke Hamaguchi's earlier films, such as "Happy Hour" and "Asako I & II," had a much more relaxed pace and atmosphere compared to his recent works, which are notably more tense, especially "Drive My Car." "Evil Does Not Exist" marks a return to his earlier style, particularly reminiscent of "Happy Hour." Many similarities can be seen between this 317-minute epic and "Happy Hour." Additionally, cinematographer Yoshio Kitagawa returned to collaborate with Hamaguchi for the first time since "Happy Hour."
In "Happy Hour" and "Asako I & II," characters' intuitive actions often serve as important symbols in the film and drive major turning points. These actions can surprise the audience, a characteristic of Hamaguchi's work. His characters often express their inner impulses directly, even if it contradicts ethics and conventions. Takumi's unexpected final action in "Evil Does Not Exist" is another example of this signature style, leaving a lasting impression. Whether or not this style resonates with viewers, it is undeniably a key aspect of Hamaguchi's filmmaking.
Ryûsuke Hamaguchi's films delve into the darker aspects of human nature, including its violent tendencies. This theme appears to be a deeply held belief for the characters in his movies, a trait he likely inherited from his mentor, Kiyoshi Kurosawa. One of Kurosawa's acclaimed works, "Cure," similarly explores the idea that evil can reside in anyone, even those who do not appear to be capable of murder. Hamaguchi expands on this idea, suggesting that a film should not be confined to its beginning and end, but should also encompass the world before and after those moments. He aims for his audience to not only experience horror but also to ponder deeper themes. Understanding this artistic philosophy may lead to a greater appreciation for "Evil Does Not Exist."
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