Greenes Please don't spend money on this.

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Edgar Soberon Torchia I liked this film very much, but the connection with Gabriel García Márquez is so thin that I would not credit "Cien años de soledad" as source. It could have inspired Terayama in the same way someone writes a poem after hearing an inspiring symphony. Sometimes the film looks and sounds more Fellini-Rota to me than Colombia, but the really fascinating images and sounds are those culturally linked to Japan. I am not a specialist in cultures, I only respond emotionally to this product, which has a dark tone and complex idiosyncratic background that is rarely present in the world of light and color of García Márquez. Although Gabo's works can be dark and complex, this motion picture has the scent of an ancient world and culture. A bit rambling sometimes, but a very good audiovisual experience.

mevmijaumau Farewell to the Ark is the final film directed by the legendary Japanese counter-culture artist Shuji Terayama, who died of illness after finishing it, meaning that the film was released posthumously, the following year. The movie is loosely based on Gabriel Garcia Marquez' novel 100 Years of Solitude (on which Terayama already based one of his most obscure films, which shares the title of the book). It's not a full-blooded adaptation though, more of a partial one, with many motifs and themes coming straight from Terayama's psyche.Terayama's personal symbolism is present throughout the film (as it is in his other works), most prominently clocks that symbolize rural traditions and superstitions (among other things, I suppose). The film follows a woman in love with her cousin. Their attempts at making love are thwarted by her chastity belt installed by her father. Meanwhile, the other villagers gradually leave behind their old ways and head for the city instead. Over the two-hour runtime, Terayama explores superstition, guilt, regret, tradition, sexuality, parting with old ways and reminiscing of lost time. This is a very puzzling film, open to many interpretations and prone to re-watches. The many intertwining sub-plots and sub-themes are here both to enrich it and to make it inaccessible. Unfortunately, there's so much going on that it suffocates the story and makes the viewing experience confusing. However, it does have that old Terayama-ish charm.The soundtrack is not as memorable as in other Terayama films, but the visual design is still true to his style. The green filters, characters wearing bright red clothing, caricatural villagers, black and white inserts, unusual natural locations and peculiar color work in general all make the film worth watching if you're interested in cinematography.