Silence

It's an interesting adaptation from a classic novel and very interesting that Shusaku Endo himself contributes to the screenplay even if I find myself a lot more partial to the now decade old Scorsese adaptation. The casting decision with Father Ferreira is one that sticks out as thematically rich even if it does take you out of it a bit, Both from his somewhat comical appearance to his performance in comparison to the other Portuguese characters (whether that's the abilities of those actors or Shinoda's ability to direct them, I'm not sure). Though I really enjoyed this, it largely helps that I'm a big fan of Endo's work, but Shinoda's direction contributes a lot of tension and horror into sequences in a way that truly does feel like they have a hellish quality. And the meeting of both Japanese and Catholic Guilt is felt in such a bleak manner here that feels like something only this filmmaking team in this time couldve likely achieved. Which also makes it very interesting when viewed in comparison to Scorsese's adaptation with how thematically different they are because of that shifting point of view.

It's an interesting adaptation from a classic novel and very interesting that Shusaku Endo himself contributes to the screenplay even if I find myself a lot more partial to the now decade old Scorsese adaptation. The casting decision with Father Ferreira is one that sticks out as thematically rich even if it does take you out of it a bit, Both from his somewhat comical appearance to his performance in comparison to the other Portuguese characters (whether that's the abilities of those actors or Shinoda's ability to direct them, I'm not sure). Though I really enjoyed this, it largely helps that I'm a big fan of Endo's work, but Shinoda's direction contributes a lot of tension and horror into sequences in a way that truly does feel like they have a hellish quality. And the meeting of both Japanese and Catholic Guilt is felt in such a bleak manner here that feels like something only this filmmaking team in this time couldve likely achieved. Which also makes it very interesting when viewed in comparison to Scorsese's adaptation with how thematically different they are because of that shifting point of view.

It's an interesting adaptation from a classic novel and very interesting that Shusaku Endo himself contributes to the screenplay even if I find myself a lot more partial to the now decade old Scorsese adaptation. The casting decision with Father Ferreira is one that sticks out as thematically rich even if it does take you out of it a bit, Both from his somewhat comical appearance to his performance in comparison to the other Portuguese characters (whether that's the abilities of those actors or Shinoda's ability to direct them, I'm not sure). Though I really enjoyed this, it largely helps that I'm a big fan of Endo's work, but Shinoda's direction contributes a lot of tension and horror into sequences in a way that truly does feel like they have a hellish quality. And the meeting of both Japanese and Catholic Guilt is felt in such a bleak manner here that feels like something only this filmmaking team in this time couldve likely achieved. Which also makes it very interesting when viewed in comparison to Scorsese's adaptation with how thematically different they are because of that shifting point of view.

It's an interesting adaptation from a classic novel and very interesting that Shusaku Endo himself contributes to the screenplay even if I find myself a lot more partial to the now decade old Scorsese adaptation. The casting decision with Father Ferreira is one that sticks out as thematically rich even if it does take you out of it a bit, Both from his somewhat comical appearance to his performance in comparison to the other Portuguese characters (whether that's the abilities of those actors or Shinoda's ability to direct them, I'm not sure). Though I really enjoyed this, it largely helps that I'm a big fan of Endo's work, but Shinoda's direction contributes a lot of tension and horror into sequences in a way that truly does feel like they have a hellish quality. And the meeting of both Japanese and Catholic Guilt is felt in such a bleak manner here that feels like something only this filmmaking team in this time couldve likely achieved. Which also makes it very interesting when viewed in comparison to Scorsese's adaptation with how thematically different they are because of that shifting point of view.

It's an interesting adaptation from a classic novel and very interesting that Shusaku Endo himself contributes to the screenplay even if I find myself a lot more partial to the now decade old Scorsese adaptation. The casting decision with Father Ferreira is one that sticks out as thematically rich even if it does take you out of it a bit, Both from his somewhat comical appearance to his performance in comparison to the other Portuguese characters (whether that's the abilities of those actors or Shinoda's ability to direct them, I'm not sure). Though I really enjoyed this, it largely helps that I'm a big fan of Endo's work, but Shinoda's direction contributes a lot of tension and horror into sequences in a way that truly does feel like they have a hellish quality. And the meeting of both Japanese and Catholic Guilt is felt in such a bleak manner here that feels like something only this filmmaking team in this time couldve likely achieved. Which also makes it very interesting when viewed in comparison to Scorsese's adaptation with how thematically different they are because of that shifting point of view.

It's an interesting adaptation from a classic novel and very interesting that Shusaku Endo himself contributes to the screenplay even if I find myself a lot more partial to the now decade old Scorsese adaptation. The casting decision with Father Ferreira is one that sticks out as thematically rich even if it does take you out of it a bit, Both from his somewhat comical appearance to his performance in comparison to the other Portuguese characters (whether that's the abilities of those actors or Shinoda's ability to direct them, I'm not sure). Though I really enjoyed this, it largely helps that I'm a big fan of Endo's work, but Shinoda's direction contributes a lot of tension and horror into sequences in a way that truly does feel like they have a hellish quality. And the meeting of both Japanese and Catholic Guilt is felt in such a bleak manner here that feels like something only this filmmaking team in this time couldve likely achieved. Which also makes it very interesting when viewed in comparison to Scorsese's adaptation with how thematically different they are because of that shifting point of view.

It's an interesting adaptation from a classic novel and very interesting that Shusaku Endo himself contributes to the screenplay even if I find myself a lot more partial to the now decade old Scorsese adaptation. The casting decision with Father Ferreira is one that sticks out as thematically rich even if it does take you out of it a bit, Both from his somewhat comical appearance to his performance in comparison to the other Portuguese characters (whether that's the abilities of those actors or Shinoda's ability to direct them, I'm not sure). Though I really enjoyed this, it largely helps that I'm a big fan of Endo's work, but Shinoda's direction contributes a lot of tension and horror into sequences in a way that truly does feel like they have a hellish quality. And the meeting of both Japanese and Catholic Guilt is felt in such a bleak manner here that feels like something only this filmmaking team in this time couldve likely achieved. Which also makes it very interesting when viewed in comparison to Scorsese's adaptation with how thematically different they are because of that shifting point of view.

It's an interesting adaptation from a classic novel and very interesting that Shusaku Endo himself contributes to the screenplay even if I find myself a lot more partial to the now decade old Scorsese adaptation. The casting decision with Father Ferreira is one that sticks out as thematically rich even if it does take you out of it a bit, Both from his somewhat comical appearance to his performance in comparison to the other Portuguese characters (whether that's the abilities of those actors or Shinoda's ability to direct them, I'm not sure). Though I really enjoyed this, it largely helps that I'm a big fan of Endo's work, but Shinoda's direction contributes a lot of tension and horror into sequences in a way that truly does feel like they have a hellish quality. And the meeting of both Japanese and Catholic Guilt is felt in such a bleak manner here that feels like something only this filmmaking team in this time couldve likely achieved. Which also makes it very interesting when viewed in comparison to Scorsese's adaptation with how thematically different they are because of that shifting point of view.

Not as strong as Scorsese’s adaptation but is still very solid, which I feel is a major testament to Shūsaku Endō’s novel. Scorsese’s film explores the idea of martyrdom and a sense of grandeur more, while I feel that Shinoda is more interested in the dread of isolation that the missionaries would feel, most evident in its use of music to me. 

Plan to rewatch Scorsese’s version soon to compare.

Not as strong as Scorsese’s adaptation but is still very solid, which I feel is a major testament to Shūsaku Endō’s novel. Scorsese’s film explores the idea of martyrdom and a sense of grandeur more, while I feel that Shinoda is more interested in the dread of isolation that the missionaries would feel, most evident in its use of music to me. 

Plan to rewatch Scorsese’s version soon to compare.