Dojoji Temple is a coalescence of traditional Japanese theatrical forms. It is a 19minute long banraku puppet theatre adaptation of the classic Noh play complete with stop motion watercolour backgrounds and occasional tidbits of more conventional animation. 400https://i.ur.com/SlVTTGp.png A couple of Buddhist pilgrims encounter a woman. What follows is a Shakespearian tragedy of sorts detailing the wrath of a woman scorned. The actual story can be traced to the 11th century. The tale is therefore somewhat primitive and something even foreign audiences will find familiar. This does not significantly detract from the film. In this respect the storys simplicity complements its form of presentation. There is it soon becomes apparent a certain power to this simplicity. The puppets are the creations of master puppeteer and animator Kihachir Kawamotohttps://anilist.co/staff/103222/KihachiroKawamoto. They are beautifully crafted and costumed. Of course being puppets they also exude a certain fragility. Moreover being puppets and with the animation mainly consisting of stop motion these characters are unable to change their facial expressions beyond closing their eyelids. Rather emotion is conveyed via delicate yet surprisingly evocative movements. The raising of an arm. A wilt in posture. The slightest action deliberately considered and precisely executed is capable of communicating so much. There isnt any dialogue either but none is necessary. You can see their anger their dejection and their fear. You can hear them breathing. 300https://i.ur.com/I9H0R09.png 300https://i.ur.com/zVTEm1S.png Shifts in camera angles and focus or sudden changes in lighting can place further emphasis on particular moments. Admittedly some of these as well as other visual effects like gaussian blurs are a little tacky. Music is an especially important component. The soundtrack is fittingly comprised of traditional Japanese instruments. For the most part it is slow rhythmic and contemplative befitting of the storys tone. When the plot intensifies it becomes restless and cacophonic. The cumulative effect of all these complementary and again simple elements is a hauntingly beautiful film. Its quaintness is charming and combined with its incorporation of traditional theatrical mediums and subject matter reinforces the films mythic or folkloric quality. This is obviously a product of bygone eras but its continued effectiveness is testament to its timelessness and quiet artistry. Without so much as an eyebrow twitch or a single word being uttered the puppets in Dojoji Temple manage to say so much.