I adore Sakamoto's music from this. Love the space and the way his score breaths. Very seldom do we get this kind of air in a film score these days. Sort of surprised it didn't get an Oscar nod.
Watched the movie this afternoon and just stunned by how good it is. I noticed the similarity in basic plot to 'Man In the Wilderness' immediately but this is such a strong piece of cinema, it doesn't matter. I agree about the gorgeous winter photography, surely this is an Oscar winner. The score is never less than effective though I'm not sure how it'll play as a stand alone. Looking forward to seeing it again on the big screen, soon.
Yes, I thought the film was quite stunning at times. I was totally absorbed and engrossed from the start. I was reminded of Jeremiah Johnson and Apocalypto from time to time. The score barely registered with me but I don't think the film needed it that much. If it sweeps the Oscars I feel it would be deserved.
I thought the way this was filmed was very unique. My jaw dropped during the first 15 or so minutes. I've not seen such interesting camera angles and sweeps in other movies as I saw in the beginning and certainly in other places. It was a well-done movie. Yes, it is similar to Man In The Wilderness, but it has its own original style.
I thought in places the music was suitable, but I didn't find it particularly memorable. However, near the end the dissonant, jarring fight music seemed way too modern sounding and actually pulled me out of the visuals at times.
This is a movie that I'm glad I saw on the big screen. The cinematography was stunning.
Have been listening to a few tracks on youtube and as bleak as much of it is, it works for me as a stand alone listen. I do moody and atmospheric. I'll be picking up the Milan CD, for sure.
Glad most of you are enjoying the film. For me, this is the best film of 2016 so far (even though I saw it last November during an early press screening here in Norway). It's not so much about the story as the experience -- the truly visceral and sensual experience of it all; a demonstration of what film can do to trigger that in us.
I adore the score in context -- that it eschews convention in favour of abstract sounds and textures that underline both the hypnotic "nature" element as well as the more graphic, "deeply corporal" aspect of it. There are also moments of exquisite beauty, like the dream sequence in the church ruins, but I don't know if this was an existing piece or original score.
Even though it's a fairly straightforward narrative, I think it's wrong to compare it to more conventional Hollywood films, and the scores therein. It has more in common with directors like Werner Herzog (especially his AGUIRRE and FITZCARALDO) and how they conceptualize the brutality of nature, and the survival instincts of Man.
