A ginger colored cat fights determined with the “fur” of a wind protection microphone. It is a strange and rare moment in this film where the observed subject has a direct interaction with one of the film´s recording device, especially in a film that cultivates mostly pure cinematic observation. This observation of cats and men is captivating precise and every emotion or mood which can be evoked seems to originate from the observation itself. Only in a few moments when Soda talks with some residents of this village he talks about himself. Once he tells an elderly resident how and why he became a filmmaker.
There is no hierarchy between the significant and the negligibly in this film. Cats and people are equally present. The motivations of the people we can understand halfway but the cats, these wonderful creatures (impossible to dislike the film when you are a cat lover) lead their own life and seem to understand the world in a different way not always according to human understanding despite the fact that the relationship between men and cats is almost as old like ancient civilizations and mythologies in different cultures. Even though the film seems to be a fest for cat lovers, Soda does not rely at all on superficial cuteness. His cinematic view reveals reality layer by layer like analyzing an onion. Some of the old residents don´t like the cats because of the dirt they leave behind. Some members of the district administration suggest to use the stray cats near the Gokogu shrine as a tourist attraction. For a big part of the film, Soda follows the hard work of members of an animal protection association. The life of stray cats is miserable. They capture them in cages, cover them up to avoid their panic. They bring them for surgery or castration to the vet. The bitter truth is (someone mentions in this film), is that stray cats have a very short expectation of life. The fight for food, injuries and several infectious diseases are evident for a very unlucky life. I know, this description sounds much more sober than the film really is. There are many moments of beauty and lovable humor. A group of cats are lurking around some old angler hoping there will be some fishes given to them. There are some shots of this picturesque environment at different day times with different weather. Sometimes it is only the change of light which gives a seemingly small moment almost the poetry of a cinematic haiku. But they are never forced, they seem accidentally originating in front of our eyes.
First of all, Gokogu no Neko is a meditation about the seeing itself. As much as Soda has confidence in his precise technical devices, his view on this piece of the world includes as well a lot of tenderness. His creative achievement has for my side to do with one of the central thesis of André Bazin who thought the the things, captured by the camera will enfold themselves. The film has a refreshing lightness and it looks never exerted. Kazuhiro Soda´s film is a cinematic pleasure about seeing, about the perception of the world without the chains of predetermined concepts. It is not only a film which I enjoyed to watch but which I always enjoy when it appears in my thoughts or memories.
Rüdiger Tomczak
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