After inspiring two of the most stunning features in recent years with “Burning” and “Drive My Car,” it should come as no surprise that the work of author Haruki Murakami is ripe for adaptation. His short stories are truly special, texts that are as dense as they are accessible, and filmmaker Pierre Földes knows this well. Földes’s first feature, “Blind Willow, Sleeping Woman,” takes its title from a Murakami collection and anthologizes a number of the author’s short stories — “Super Frog Saves Tokyo,” “Birthday Girl,” “Dabchick,” “The Wind-Up Bird & Tuesday’s Women,” “Blind Willow Sleeping Woman,” and “UFO in Kushiro” — to create an intimate and playful study of characters looking for meaning in their lives.
Weaving together these stories — and their wide-ranging subject matter that includes break-ups, office-job monotony, strange wishes, and secret assassins — is a special endeavor of its own. And while the film stays true to Murakami’s sensibilities,