Perfect Days review: Wim Wenders slow cinema will draw you to the edge of your seat

If there’s one positive thing about the relentless pace of Oscar season, it’s seeing more unusual films enjoy the spotlight. Legendary German filmmaker Wim Wenders (Paris, Texas) collaborates with writer Takuma Takasaki for this peaceful slice of life from modern day Japan that is in the running for Best international Film at this year’s Academy Awards.

Perfect Days is already an award winner, with Kōji Yakusho winning the Best Actor award at Cannes. He plays Hirayama, a quiet older man working as a public toiler cleaner in Tokyo. He loves his job, taking great pride in making every location he visits spotless, and enjoying his interactions with the public. Outside of work, he lives an equally structured but content existence, looking after plants and listening to his favourite cassette tapes in his van. Through a series of accidental encounters, we get small glimpses of Hirayama’s past, and some insight into his optimistic outlook.

If you’re the impatient type, this may not be the film for you. While externally the camera simply follows Hirayama on his daily routine, including brushing his teeth and eating a sandwich at lunch, underneath the surface something captivating grows. Wenders turns this schedule into a rhythm, inviting you to stop and take a look around at the beauty of the everyday, just as the protagonist does. It’s a tough trick to pull off, but a thousand small moments add up to make a small tale with a big point. By the end of the film, you’d be forgiven for humming along to one of the golden oldies played in the van, as well as being thoroughly moved by everything that’s transpired.

Location also plays an important factor in Perfect Days, as the man and the place seem to reflect each other. The parks and streets of Tokyo offer cinematographer Franz Lustig a clean and orderly canvas that might not have been there had it explored the public loos of New York or London. Japanese sensibilities play their part too – It’s a place where personal space seems to be respected, and where all types of routines flourish. Even the drunk office worker that trips over Hirayama’s Wet Floor sign seems to do so in an orderly fashion.

This type of movie doesn’t work without a great performance, and Yakusho has more than earned his accolades. Playing a character with such quiet grace is no mean feat, but the actor’s face conveys so much despite having very little dialogue. Beautiful little moments like helping a lost child, rescuing a small plant, or even scolding his lazy colleague (a madcap Tokio Emoto) are wrapped in sensitivity and contemplation. A Hollywood film might feel the need to throw in a dramatic twist or some scenery chewing, but both the filmmakers and their star find so much drama in quiet reflection.

Two hours of human drama may be too much for those who like their movies big and shouty. However, Perfect Days is deliberately slow cinema that will draw you to the edge of your seat if you’re willing to go along for the ride.