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Two friends who work in the same oshibori laundry are lost in the drudgery of everyday life. They hang out together, barely functioning and barely communicating. Their middle-aged boss makes a desparate attempt to connect with them with disasterous consequences. Their future is far from bright.
The most spellbinding aspect of Bright Future is that the surrealism sustains its own squiddish logic, concluding with one of the most breathtaking film finales of the year.
Casts its spell by drawing out the horror of everyday existence bit by bit, and then tossing in some otherworldly weirdness that makes the hair on the back of your neck try to run for cover.
Kurosawa strolls through his narrative with relaxed confidence, suggesting apocalyptic significances without assuring us that he has anything particular on his mind.
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Chicago Reader by
Premiere by Aaron Hillis
Variety by David Rooney
TV Guide Magazine by Ken Fox
Entertainment Weekly by Lisa Schwarzbaum
The New York Times by Manohla Dargis
Village Voice by Michael Atkinson
New York Daily News by Robert Dominguez
Boston Globe by Ty Burr