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Seichō Matsumoto (松本 清張, Matsumoto Seichō, December 21, 1909 – August 4, 1992; born Kiyoharu Matsumoto) was a Japanese writer, credited with popularizing detective fiction in Japan. Matsumoto's works broke new ground by incorporating elements of human psychology and ordinary life.
Matsumoto not only wrote the script and directed the film, he also stars as the man trapped in the white room. Being that large parts of the narrative is based on non-verbal communication and set in a singular space, Symbol is comparable to films like Aragami (Ryuhei Kitamura) and the Cube film series.
The film depicts a figure sitting in an outdoor environment and wearing a robe and a Hannya mask. [3] [4] The film features receding and shifting images captured in a frame-by-frame manner; though these shots resemble zooms and pans, they were actually derived from positioning the camera on a series of a points.
Guy Lodge of Variety wrote that while the film is "fully in touch with its very real emotions", it "feels just a little more than it says." [2]Edmund Lee of the South China Morning Post rated the film 2.5 stars out of 5 and wrote that "for all its finer accomplishments, Yukisada’s effort has probably stepped too far out of the line of ethics to find an agreeable audience."
The line started as an in-joke behind the camera that Scheider tried to include it at multiple points throughout filming. Eventually, it made the cut during this scene.
Matsumoto's short story was repeatedly adapted for television in later years. [6] Some of these adaptations stayed closer to the original story, which has only one detective, Yuki, observe Sadako, [ 7 ] while others took over Hashimoto's idea to present two detectives.
The film premiered on September 12, 2013 on the Toronto International Film Festival [12] and was released on March 3, 2015 on Blu-ray Disc in a 1080p video format [13] and DVD over Drafthouse Films. [14]
One week into newlywed Teiko Uhara's marriage, her husband, ad agency manager Kenichi, leaves on a short business trip to Kanazawa and doesn't return. With a pair of old photographs she found among his belongings, Teiko travels across Japan to search for him, first with the help of her husband's employer, later on her own.