Evil Does Not Exist takes its time. At the beginning there’s foreboding music on the soundtrack as the camera moves across nature and vegetation. Then a character appears out of nowhere, startling the audience. Almost half an hour passes before a character even speaks. In that dichotomy of patience and alarm lies the genius of Ryusuke Hamaguchi’s follow-up to the Oscar-winning Drive My Car. It’s a fable, like a simple game of good versus evil, that unspools with such density of narrative that it... Read this story
