Ley Lines [1999]

Eschewing his usual pot pouri narrative, the story of Ley Lines is remarkably simplistic and linear following two brothers and their friend escaping their small village for the big city. Ley Lines can be viewed as fitting in the rights of passage genre, marking the progression of these young men into adulthood. The sparse narrative lets the film focus on the small details highlighting the gradual changes in the trio of youngsters.

The camera technique is consistent in its masterful use of long takes, long shots and natural lighting (albeit counterpointed with the occasional use of expressionistic red filters) which adds an air of realism to the proceedings. There’s an ‘on the hoof’ mood to the film which gives it a fresh spontaneity perfectly matched by the actor’s performances which always touch upon emotional truth, balancing humour with tragedy.

Less bombastic than Shinjuku Triad Society and not so intimate as Rainy Dog (which is the best of the trilogy in my opinion), Ley Lines has a similar mood to the excellent Dead or Alive 2 (which also deals, although in a different manner, with the adult/childhood divide). Those expecting the extremes of Ichi or Audition will be disappointed – anyone wanting to watch a master filmmaker at work will be touched.