Minka

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05/08/2012 Despite the deep emotions of architect Yoshihiro Takishita, Minka seems shallow. In the late 50s and early 60s, Takishita and his lover, Associated Press journalist John Roderick, moved a Japanese farmhouse, rebuilding it into their home 10 miles outside of Tokyo. It's a pretty and impressive house, the view is fantastic, and there is a strong sense that Takishita is emotionally attached to the home, the land, and to Roderick. The filming is quiet and elegiac, using very little sound, borrowing old black-and-white photographs from Takishita to tell it's simple, short tale. The whole thing screams of restraint. That, in essence, is the problem; it seems strange that in the 1960s, no one seems to have a problem with their gay relationship. Takisthita's family accepted Roderick without any known conflict. Roderick's job was not affected. The home seems to become a sanctuary, but we never get a sense of what it's an escape from. http://www.watermarkonline.com/arts-culture/film/item/5935-online-bonus-reviews-fl-film-fest See more Read all reviews

Minka

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