Ryujin is a weirdly charming relic you probably haven't seen

If you like movies that feel like they were dug up from a basement, you’ll probably dig this. It’s definitely not for anyone who needs a plot that makes sense every second. 🐉

I sat down with this thinking it would be a chore. It’s a silent film from a time when people were still figuring out how cameras worked.

But honestly? It’s kind of mesmerizing in a way I didn't expect.

Neset Berküren is the main guy here. He’s got this face that just doesn't fit the rest of the cast, which makes sense because he was Turkish.

Seeing him stand next to Yukiko Ogawa is just... odd. It’s a strange mix of styles.

The story is about the Dragon God, or something like that. To be fair, my notes got a bit messy because the pacing is all over the place.

There are these long shots where people just look at the horizon. Like, they’re really looking at it for a long time.

You start to wonder if they saw a bird or something off-camera. It feels a bit like Kantou daishin taika jikkyou in how it captures a specific moment in time.

The costumes are the best part. They look heavy and itchy, which adds to the drama I guess.

Suzuko Isogawa has this one scene where she’s crying, but it looks more like she’s trying to remember if she left the stove on. It’s unintentionally funny but also kind of sweet.

The Visuals

The film quality is pretty rough. There are scratches everywhere on the print I saw.

Sometimes a big white line just cuts through the middle of a guy's face. It adds to the charm, though.

It reminds me of watching Flashing Spurs, where the age of the film is basically a character itself. 📽️

The lighting is very flat. It’s like they just opened all the windows and hoped for the best.

There’s a moment with a dragon effect that is... well, it’s a choice. It looks like a puppet made of cardboard and hope.

I love it. It’s way better than some perfect CGI monster that has no soul.

The movie is way too long for what it is. It drags in the middle when they start talking—well, using title cards—about things that don't matter.

I found myself looking at the background extras more than the leads. One guy in the back is clearly just waiting for lunch.

He’s swaying slightly and looking at his feet. Relatable.

Why it stays with you

It’s the weirdness of the collaboration. A Turkish guy in a Japanese production in the 20s is just wild to think about.

It’s not a masterpiece. Don’t go in expecting that.

It’s more like a postcard from a world that doesn't exist anymore. ✉️

I think people who like The Wonderful Chance might find this interesting just for the historical dust on it.

The ending is abrupt. It just kind of stops.

I actually checked if the file was broken, but no, that’s just how it ends. It’s like the director just ran out of film and said, "Yeah, that's enough."

Random things I noticed:

• The makeup is very thick. Like, cake-thick.
• One of the doors in the background looks like it’s made of paper and it wobbles when someone walks past.
• The hand gestures are very loud. Lots of pointing.
• Neset Berküren has some really impressive eyebrows.

It’s a weird one. I’m glad I watched it, but I don’t think I’d do it again soon.

If you want something to put on while you’re folding laundry, this is perfect. You won't miss much if you look away for five minutes.

But every now and then, a frame will look like a beautiful old painting. Those moments make it worth the squinting.

It’s got more heart than A Wall Street Tragedy, even if it’s less polished. 🏚️

Check it out if you’re feeling adventurous and don’t mind a bit of boredom. It’s a trip.