Wenders’ komorebi
a phenomenological approach to Perfect Days (2023)
DOI:
https://doi.org/10.48075/aoristo.v7i3.34403Keywords:
Fenomenologia, Cinema, arquitetura, DesignAbstract
This article offers a phenomenological reading of the routine of Hirayama, a public toilet cleaner in Tokyo, the protagonist of the latest film by German filmmaker Wim Wenders, Perfect Days (2023). By examining his daily life, focusing on his movements, objects, and ways of being, the film portrays his repetitive and meditative activities. The film originated from a project called "The Tokyo Toilet," responsible for innovative public toilets in Tokyo, combining Japanese cleanliness culture with modern architectural creativity. The analysis delves into the significance of Hirayama's everyday equipment, exploring Martin Heidegger's concepts of Besorgen and Zuhandenzeit. The use of repetition and variation in the film highlights the beauty in mundane gestures without dramatic tension. Silence and music play crucial roles in the narrative, with a soundtrack featuring pop and rock classics from the 1960s and 1970s. The article also discusses Hirayama's interactions with secondary characters, emphasizing his contemplative and solitary nature. Aligning with the film's theme, this study reflects on the authenticity of everyday life and the importance of living in the present moment, as illustrated by Hirayama's experiences.
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