Rotterdam 2019: Fleeing the Scene

A policeman reads a taciturn woman her statement back to her, a confession of killing her friend’s child. She reacts minimally, either disconnected or disassociated, and when the policeman informs her that her confession will lead to judgement, she foggily explains she has already been judged—by something, something "like time." This strange transition from a criminal drama to intangible abstraction is the suggestive opening to Natsuka Kusano’s second feature Domains, where this terrible crime and the genre story attached to it—how did this murder come about, why did the woman kill the child, what will happen to her?—are a misdirection. The truly important part of this prelude was the fact that the policeman read out loud the woman’s story for her, because what follows over the next two and a half hours in this bold venture is just that: reading. After some credits, Kusano
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