Ryûsuke Hamaguchi’s Evil Does Not Exist immediately sparks conversations, thanks to its intriguing title and the events that unfold. Even before watching the film, the title alone raises questions. The phrase “Evil Does Not Exist” feels like an unlikely statement that contradicts how most people perceive the world. The deeper one gets into the film, the more these themes unfold, especially with the characters’ actions that cause harm to others. However, it’s the ending that leaves the biggest mark, provoking a whirlwind of debate and multiple interpretations.
Hamaguchi is known for his complex, thought-provoking endings, as seen in his Best Picture Oscar nominee Drive My Car. That film concludes with a long, reflective sequence, leaving much of its meaning to be pondered over time. Similarly, Evil Does Not Exist brings a sharp focus on a 20-minute scene involving a community’s objections to a planned luxury development. The abrupt and surprising ending of Evil Does Not Exist leaves viewers questioning what they just witnessed, stirring up even more questions about its meaning and intentions.
Evil Does Not Exist Ending Explained
The film is set in Mizubiki, a small rural village under threat of disruption from developers planning a luxury camping site. During a town hall meeting, locals present well-thought-out objections to the project, impressing the developers, Takahashi and Mayuzumi. However, Takahashi and Mayuzumi discover that their boss isn’t concerned with the project’s sustainability or profitability. Instead, his main focus is to secure pandemic-era development grants by meeting a looming deadline.
As the developers continue their work, they connect with Takumi, a widower from Mizubiki, raising his young daughter Hana on his own. Takumi is a quiet man deeply connected to nature, a fact that intrigues Takahashi, who envies him and dreams of living a similar life. However, the peaceful atmosphere is disrupted when Hana goes missing. The town rallies together in search of her, and eventually, Takumi and Takahashi find her lying in a field, having been attacked by a wounded deer.
In a stunning moment, Takumi turns on Takahashi, strangling him before grabbing Hana’s body and running. Takahashi stumbles through the field before falling and lying motionless. The film leaves viewers wondering whether Takahashi or Hana is dead, and Hamaguchi himself admits that he intended to keep these elements open for interpretation. The director wanted the film’s abrupt ending to spark reflection and conversation about the characters and their choices leading up to that moment.
Takumi’s Motivations Explained
To better understand Takumi’s sudden attack on Takahashi, Hamaguchi points to a conversation earlier in the film. Takumi tells the visitors that wounded deer, although usually harmless, can become dangerous when they’re in pain, especially when they’re protecting their young. This notion serves as a metaphor for Takumi himself, who is deeply wounded both by the impending destruction of his community and the harm inflicted on his daughter, partly due to his neglect.
Takumi, like the injured deer, lashes out irrationally. His violent reaction is not aimed at the source of his pain but rather at the nearest target: Takahashi. As the film unfolds, it becomes clear that Takumi has struggled with his role as a father. Hana’s presence in the woods alone, which leads to her encounter with the deer, highlights his failure as a caregiver. Takumi’s attack on Takahashi can be interpreted as an expression of desperation, an emotional breakdown triggered by the realization of his past mistakes.
Hamguchi aims to offer a nuanced portrayal of Takumi’s emotions and actions. The director hopes that viewers will return to the film after the surprising ending to reassess the character’s earlier behavior. He explains that each character in the film has a rich, untold life beyond what’s shown on screen. Even if Takumi’s actions seem extreme, Hamaguchi wants audiences to feel that, given Takumi’s circumstances, his behavior could be understood.
The director views the ending as an invitation for deeper reflection. By leaving certain elements ambiguous, he encourages viewers to reexamine the narrative and challenge their interpretations of what they have just seen. This kind of open-ended conclusion allows for multiple readings, enriching the experience and offering room for debate.
Understanding Takumi’s Extreme Response
Hamaguchi compares Takumi’s behavior to a woman’s choice in Asako I & II, where a character’s seemingly misguided decision helps her understand herself. Similarly, Takumi’s violent act stems from his inner turmoil, frustration with his fatherly failures, and his struggle to protect his community. His attack on Takahashi challenges expectations and defends his community against outsiders.
Hamaguchi views Takumi’s actions as an instinctive, emotional response, much like an animal’s defense when cornered. The director invites viewers to interpret Takumi’s motivations in their way, leaving room for different conclusions.
The Significance of the Film’s Title
The title Evil Does Not Exist carries deep thematic weight. Originally intended as a short film, the title emerged before the full story was conceived. Hamaguchi recounts visiting the area where composer Eiko Ishibashi creates her music, surrounded by the tranquil beauty of nature. He realized that despite the harsh, cold winter he didn’t feel the presence of evil. The title was born from this observation and reflects a worldview that sees nature as neutral, not inherently malicious.
Hamaguchi acknowledges that human actions within society complicate this perspective. While nature itself is not evil, human behavior, especially in urban environments, can often be harmful. The developer in the film, who brings destruction for personal gain, embodies this human capacity for harm. Yet, Hamaguchi suggests that such choices, driven by desire, are also part of nature. This nuanced understanding of the film’s title challenges viewers to reconsider their assumptions about morality, good, and evil.
Opening Scene and Its Connection to the Film’s Themes
The film opens with a four-minute tracking shot, looking upward at trees in a slow, steady motion. While this shot may seem disconnected from the film’s conclusion, it foreshadows the themes of perspective and understanding that Hamaguchi aims to explore. The camera’s controlled movement, which humans cannot replicate, offers a unique viewpoint that emphasizes the role of perspective in interpreting the world around us.
This opening shot, paired with the title, reinforces the film’s central message: nature is not inherently evil, and understanding the world requires a careful examination of one’s surroundings and experiences. As the film progresses, this concept of perspective becomes increasingly important, urging the audience to question their initial judgments and explore the complexities of the characters’ actions and choices.
