The film is about living in the moment, reviews critic Sean Burns. 'It may sound strange to say that some of the most beautiful filmmaking you’ll see this year is in a movie about a man who cleans toilets, but there are passages of that took my breath away.
” is a Japanese word for the dancing shadow patterns created by sunlight shining through the rustling leaves of trees. There’s no equivalent term in English, and it’s tough to imagine any American caring enough to come up with one. But every afternoon on his lunch break, Hirayama takes a picture of the komorebi from his favorite park bench using an old Olympus film camera. Back at his apartment, he’s got boxes and boxes of black-and-white photos of the same spot, every one of them unique.
Hirayama takes great pride in his work, silently scrubbing and double-checking beneath the bowls with a hand-held mirror, tuning out the incessant chatter of his sloppy, much younger partner Takashi who won’t stop babbling about his love life. Hirayama doesn’t talk much, but he’s funny. You like him right away and can see why he’s so warmly welcomed by the clerks and bartenders at the shops and restaurants where he’s a regular, always ordering a tall glass of ice water. Never alcohol.
Watching Hirayama at work, we can’t help but be reminded of the angels in Wenders’ 1988 masterpiece “Wings of Desire,” invisibly observing the people of Berlin while they go about their daily business. Most folks ignore him, the way society has trained us to look past service workers. But Hirayama sees them in full. “Perfect Days” can sometimes feel like a cousin to Jim Jarmusch’s great 2016 “,” in which Adam Driver played a New Jersey bus driver who finds poetry in the quotidian.
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