Storytelling That Moves at the Speed of Nature

Read Time:5 Minute, 6 Second

MOVIE REVIEW
River Returns
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Genre: Drama, Fantasy
Year Released: 2024, 2025
Runtime: 1h 49m
Director(s): Masakazu Kaneko
Writer(s): Masakazu Kaneko, Genki Yoshimura
Cast: Sanetoshi Ariyama, Asuka Hanamura, Yo Aoi, Tomomitsu Adachi, Kinuo Yamada, Keisuke Horibe, Tetsu Watanabe, Toshie Negishi, Ken Yasuda, Yusuke Takahashi
Where to Watch: TBA

RAVING REVIEW: RIVER RETURNS drifts into focus like an old memory you weren’t sure you still had, pulling you into a space where rivers, forests, and traditions feel every bit as alive as the people who inhabit them. Masakazu Kaneko’s latest work isn’t chasing spectacle or deep-seated emotion; it’s a carefully crafted meditation on the spaces we often overlook. In an age where movies usually sprint to grab attention, this one stands still—and asks you to stand still with it.

At its heart, the story poses a quiet yet profound question early on: when young Yucha asks where water comes from, his father’s explanation about rain, trees, and rivers seems simple enough. But when Yucha asks what happens if the trees disappear, the film exposes the deeper stream running underneath its surface. It’s not just a child’s question; it’s the first ripple in a larger meditation about humanity’s relationship with the land, and how easy it is to lose the things we think are permanent.

The backdrop is 1958 Japan, a nation rebuilding from devastation and charging headfirst into modernization. For Haruo, Yucha’s father, the answer seems clear: sell the mountain land, fuel new construction, and bring prosperity not just to himself but to the entire village. There’s urgency in his motives—money could fund treatment for his ill wife, Ayumi—but the film never leans on simple narratives of progress versus preservation. Instead, Kaneko suggests that while modernization brings hope, it also demands consideration of what is left behind.

Kaneko’s use of landscape is less about capturing beauty and more about animating it; mountains, rivers, and forests are treated with reverence, as if they’re carrying secrets older than anyone. A storyteller incorporates a local myth into the narrative—a tale of a drowned girl whose sorrow still lingers in the river. By grounding mythology in everyday life, Kaneko dissolves the line between fable and memory, showing how deeply these traditions run beneath the surface.

One of the most striking elements is how RIVER RETURNS handles modernization without creating villains. Haruo isn’t blinded by greed; he’s desperate, practical, and trying to care for his family the best way he knows how. But filtered through Yucha’s growing awareness, the audience sees how easy it is to rationalize actions that quietly sever ties to something essential. Yucha’s journey toward understanding becomes the soul of the story, positioning him as a bridge between a vanishing way of life and a future not yet fully shaped.

Minimal dialogue forces the actors to lean heavily on expressions and body language, and while some moments land with a subtle poignancy, others feel distant. A few more scripted exchanges could have provided the performances with the space needed to fully bridge the emotional gaps, thereby strengthening the audience’s connection to the characters without compromising the film’s meditative nature.

The sound design deserves special credit; the rustle of leaves, the murmur of water, and the distant echo of storms all create an environment that feels tangible. This sensory layering immerses the viewer without drawing attention away from the story. Visually, the decision to maintain a consistent style between the real-world and folktale sequences reinforces the idea that past and present are intertwined. However, it sometimes sacrifices the opportunity for a sharper distinction between the two timelines.

There are moments where the film’s careful pacing threatens to slip into indulgence. The folktale sequence, while emotionally rich, lingers perhaps a little too long, testing the viewer’s patience without always offering sufficient payoff. A tighter edit in a few stretches could have sharpened the emotional impact, maintaining the film’s reflective tone while keeping its narrative more consistent.

Time itself becomes flexible within the story’s world, much like the river at its center. Past mistakes aren’t fixed points; they’re possibilities waiting to be addressed. Through this malleability, the film offers a quietly hopeful view of legacy, not as a chain that binds, but as something alive, capable of change and renewal.

Ultimately, RIVER RETURNS doesn’t shout its message or demand attention. It invites. It suggests that some truths can only be understood through patience and a state of presence. While the story doesn’t aim to upend conventions, and while it occasionally stumbles in balancing its narratives, the film leaves a lasting impression through its sincerity and refusal to rush toward easy conclusions.

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[photo courtesy of EST STUDIOS, N8 STUDIOS, PROJECT DAWN]

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