More goofy than gripping, Junta Yamaguchi’s sci-fi farce, “Beyond Two Infinite Minutes,” is a time-traveling tale filled with philosophical contemplations and romantic expectations. Yet, while intelligently and passionately built, this first feature – shot on the iPhone in a single location – rarely beats the accuracy of the premise and the repetition of the original. its settings.
After closing the cafe for the day and returning to her apartment upstairs, Kato (Kazunari Tosa) is stunned to see herself on the TV screen, seemingly speaking from the linked monitor in the cafe coffee – and from two minutes into the future. Kato and his delighted cohort waste no time exploiting this masterpiece, racing up and down the stairs and backing forward to interrogate their near-future selves. And as the fun experiments with lottery scratch cards dried up, the team’s momentary breakthrough efforts became more complex and therefore more complex.
While there’s much to admire in its micro-budget debut, its sci-fi woes are too complicated and its visuals too oppressive to sustain interest. Yamaguchi’s skillful editing (he also acts as a cinematographer) makes the messy momentum of Makoto Ueda’s script seamless, and the young actors, mostly theatrical, eager to eager. However, the film’s most profound and interesting insight is only briefly resolved when Kato and his friends, with growing anxiety, realize that their foreknowledge is setting the stage. their current behavior.
The perception of the unwanted effects of seeing one’s future is soon diminished by the film’s more irrational concerns, including the appearance of time-traveling cop with erased powder. memory. However, interested viewers may feel they’ve been sniffing it out for a long time.
https://www.nytimes.com/2022/01/25/movies/beyond-the-infinite-two-minutes-review.html ‘Beyond the Infinite Two Minutes’ Review: Hello, it’s you