Synopsis
Pray with your eyes open
Two Jesuit priests travel to seventeenth century Japan which has, under the Tokugawa shogunate, banned Catholicism and almost all foreign contact.
2016 Directed by Martin Scorsese
Two Jesuit priests travel to seventeenth century Japan which has, under the Tokugawa shogunate, banned Catholicism and almost all foreign contact.
Andrew Garfield Adam Driver Liam Neeson Tadanobu Asano Ciarán Hinds Issey Ogata Shinya Tsukamoto Yoshi Oida Yosuke Kubozuka Kaoru Endô Diego Calderón Rafael Kading Matthew Blake Benoit Masse Tetsuya Igawa Shi Liang Panta Takuya Matsunaga Miho Harita Hairi Katagiri Masayuki Yamada Michié Hiroko Isayama Yutaka Mishima Yasunari Takeshima Yuri Ishizaka Ryo Sato Ruo Satô Yoriko Doguchi Show All…
Martin Scorsese Barbara De Fina Irwin Winkler Randall Emmett Emma Tillinger Koskoff Vittorio Cecchi Gori Gaston Pavlovich Diane L. Sabatini Brent Ryan Green Mark D. Rogers
George Furla Stuart Ford Matthew J. Malek Ted Fox Tarek Anthony Jabre Chad A. Verdi Ken Kao Brandt Andersen Wayne Marc Godfrey Len Blavatnik Manu Gargi Dale A. Brown Niels Juul Michelle Verdi Tyler Zacharia
Noriko Watanabe Laura Calvo Jennifer Lamphee Chris Lyons Ellen Meng-Hsuan Lin Kerryn Flewell-Smith Caleb Schneider Rachel Chen Giny Hung
Waypoint Entertainment Cappa Defina Productions CatchPlay Fábrica de Cine SharpSword Films Sikelia Productions EFO Films
Milczenie Boga, Мълчание, Silencio, ศรัทธาไม่เงียบ, Молчание, 사일런스, Silêncio, خاموشی, 沈黙 -サイレンス-, 沈黙 サイレンス, Silence - Silencio, Vaikus, Milczenie, Σιωπή, 沈默, שתיקה, Мовчання, Némaság, Mlčanie, Tyla, Mlčení, Тишина, Sükût, 沉默, 沈黙-サイレンス-, Klusēšana, Tišina
100
"Those five in the pit are suffering too, just like Jesus, but they don't have your pride. They would never compare themselves to Jesus. Do you have the right to make them suffer? I heard the cries of suffering in this same cell. And I acted."
I remember it vividly; like a memory still lingering fresh in the mind. It was my first time attending the sacrament of reconciliation, and I was just as nervous as the many other students lined up in waiting for their turn at the confessional. One by one, people entered and exited the booth with a degree of rebellion and solemnity. It eventually dawned on me that my time had arrived, and taking a…
I'm....hm....uh....
Writing about movies is hard lol, writing about Silence is hell.
At the ripe age of 22 I still don't know where I stand on religion, I just have a lot of opinions on it that nobody wants to hear about. But what I'm trying to say is I feel like with a film like this, a film as subtly extreme and exhausting as this, your view on religion is going to impact how you take in this movie. Which is why I think the most impressive part about Silence, aside from how it looks, is the objectivity of it, I think. It's taking you in with open arms and dragging you through a whole lot of honesty. Brutal ass honesty. I did a lot more thinking than I did feeling with this one and I'll definitely be coming back to it some day. Yet another classic gangster film from the one and only Martin Scorsese!
Even on rewatch I'm still unsure what to say about this one other than I already see myself wrestling with it for years to come. Shūsaku Endō’s book itself is a masterpiece, a book about trying to reconcile belief and inquiry, love and cruelty, calm and brutality; and out of it Scorsese has stayed faithful to it and sculpted it into an extraordinarily empathetic portrait of arrogance and endurance. Many have already compared it to Scorsese’s previous spiritual works Last Temptation and Kundun (and in terms of tempo that's certainly the closeer register), but its closest relative for me is his criminally underrated Bringing Out The Dead, the story of a paramedic addicted to the high of saving life, but…
"Go on, then, Rodrigues, pray. But pray with your eyes open."
I remember reading a review of this when it came out that dismissively compared it to Shinoda's original adaptation, arguing that Scorsese's emphasis on Endo's rumination on faith came at the expense of the novel's critiques of colonialism. It struck me as a blinkered, surface-level reading of the film then; now, it seems downright oblivious. Scorsese has worked with strong scripts for so much of his career, but he communicates visually, one of the few filmmakers who can shoot impressionistically and expressionistically with equal skill. It is hard to ignore how both Rodrigues and especially Garupe recoil at every Japanese person who approaches them, instinctively afraid even though nearly…
Andrew Garfield and Adam Driver further prove they are two of the most convincing and diverse actors today. Unlike Hacksaw Ridge, in my opinion, the faith in this film was handled beautifully and very respectfully. I absolutely adored Silence.
This one is going to have to marinate in my brain for a few days before I even attempt to write down some cohesive thoughts. But I'll leave you with this: Holy Fucking Shit! Marty hasn't lost it one bit.
Also, that final shot...WOW! One of the best final shots I've seen in a film to date.
This is, for me, one of Scorsese's best ever works, if not THE best. Few filmmakers have ever explored spirituality in such a compelling and complex manner. Truly astonishing, and even better on second viewing.