It’s the end of World War II, and Japan has just surrendered, effectively ending the fight for Japanese soldiers. Hiroo Onoda (Yûya Endô/Kanji Tsuda), however, takes it upon himself to continue the war–retreating into the jungle, refusing to admit that the fight has been lost. Onoda: 10,000 Nights in the Jungle tells the story of Onoda as he struggles to come to terms with his new reality. It depicts both the interior and exterior struggles of the soldier–expressing just how meaningful WWII was to those dedicated to Japanese power and nationalism.
Beautiful doesn’t even begin to describe Arthur Harari’s film, as he manages to incorporate every ounce of potential beauty into Onoda: 10,000 Nights in the Jungle. It’s not just metaphorical and emotional beauty that exists throughout the course of his film, but physical and aesthetic beauty permeate the film in its entirety. Filmed on location in Cambodia, Onoda: 10,000 Nights in the Jungle screams honesty and realism–something often lost on modern films. It’s sometimes difficult to find the perfect place to film, and that’s why sets and sound stages have become more typical in Hollywood. However, Harai and Location Manger Florence Tanguy refuse to settle for anything less than perfection; they find that and represent it throughout the film. From beginning to end I felt fully immersed in the film, as if I were there with Onoda and his cohorts–navigating the puzzling terrain of the jungle alongside them. I appreciate this crew’s ability to invite me into the film like this–perfectly enveloping viewers in the story, refusing to let them go.
Much like a combination of Hamburger Hill and Seven Samurai, Onoda: 10,000 Nights in the Jungle feels real, rather than some fictionalized story made for Hollywood. It captures the true essence of war and what it would have been like for those struggling with the harsh times, and it constantly reminds viewers that nothing about war, regardless of what some films and television shows might say, is glamorous. Harari tells a story that refuses to veer from the dark, harrowing realities that constantly choked military personnel, and he captures that with intensity and purpose. Through the long, winding aerial shots, viewers, again, see the aesthetic beauty of all that is Cambodia, but it also reminds viewers of the long, difficult journey on which Onoda embarks throughout Onoda: 10,000 Nights in the Jungle. Harari is a brilliant filmmaker that captures nearly every moment of the film with perfection. He creates something visually mesmerizing, and he never relents until the film has come to a close.
Onoda: 10,000 Nights in the Jungle is so spectacularly illustrated throughout that there were moments in which I lost track of the dialogue and simply focused on the visuals. Dialogue in another language, translated to English for the subtitles, can often be a bit rough–left of center in regard to what the English language actually sounds like, but the writing of Harari, Bernard Cendron, and Vincent Poymiro manages to translate effectively–making the film that much more accessible. Even though I lost track of the dialogue from time to time, everything works together to create something spectacular, making the narrative work incredibly well.
Endô and Tsuda are just two of the many immensely talented actors present in Onoda: 10,000 Nights in the Jungle. Each and every player present in this film fills the shoes of their respective characters with incredible aplomb–this constantly reinforces the realism present in the film, giving viewers another reason to be invested. Much like the rest of the film, the acting never feels forced–it simply feels real and honest. Every single actor possesses massive talent, and they help bring Onoda: 10,000 Nights in the Jungle to life in incredible and interesting ways.
Onoda: 10,000 Nights in the Jungle is one of the most pleasing films that I’ve seen in a long time. It’s never going to get viewers to jump out of their seats, it’s never going to compete with the big blockbuster films in terms of shock and awe–but it knows exactly what it wants to be and it settles into that niche early and refuses to veer from its intended course. It’s a damn good war film that plays with the boundaries of mental and emotional health–and it manages to incorporate these ideas beautifully. Onoda: 10,000 Nights in the Jungle is one of the best films of the year, and the reality is that in its niche corner of cinema not much exists to compete with it. There are so many reasons to love Harari’s film, but the accessibility and the fact that it’s so unwavering are the most prominent.
Directed by Arthur Harari.
Written by Bernard Cendron, Arthur Harari, & Vincent Poymiro.
Starring Yûya Endô, Kanji Tsuda, Yûya Matsuura, Tetsuya Chiba, Shinsuke Kato, etc.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
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