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Less than six months later, Sakamoto finished recording one of the best film scores of the 21st century. It’s a spare and haunted piece of work, punctuated by great silences that reflect the chaos of nature, as unpredictable and inviting as the surface of a frozen lake. Piano strikes are distorted until they rumble like rolls of distant thunder, while urgent strings press into the mix with such force that you can almost hear the first bloody streaks of orange sunlight creeping over the horizon and calling you home. It’s the sound of someone finding a way back to their body by listening for its place in the world around them.  “The Revenant” is a journey back from the dead, an animistic return that Sakamoto continues to this day.

Akiko yano

“Ryuichi Sakamoto: Coda” documents that journey with the same atemporal sparseness that shapes the composer’s music. Folding five years into 100 minutes, Schible’s directorial debut focuses on the souvenirs that Sakamoto picked up along the way. It finds he’s a different man than he was before his diagnosis, at once both more delicate and more powerful than ever — attuned to nature for the first time in his remarkable life, and finally able to hear some kind of harmony between how finite we are and how limitless we feel. From “It’s a Wonderful Life” to “Wings of Desire,” and from “Ikiru” to “Fearless,” there have been any number of movies about people who find a permanent clarity after their brush with death: “Coda” is not one of those movies. It’s the story of a visionary artist whose perspective is retuned by a personal disaster; whose obsession with not taking life for granted begins to consume him once he sees first-hand that death is never further away than a next-door neighbor. It’s the story of a cancer survivor who knows that being healthy makes it almost impossible to appreciate being healthy, and it’s the story of a mad cinephile using his own music to reconcile those two states of mind before it’s too late. Now that Sakamoto is in remission, he’s in for the fight of his life. A small crowd gathered outside the West Village restaurant where I was scheduled to have lunch with Sakamoto on a recent May afternoon.

An elm tree had cracked in half and fallen on top of a parked SUV, crushing it from above. It was a freak event on a perfect day, but I couldn’t help but think of something the hero’s wife says in “The Revenant”: “When there is a storm and you stand in front of a tree, if you look at its branches, you swear it will fall. But if you watch the trunk, you will see its stability.” Tell that to the owner of the car. I found Sakamoto in the throng of people, happily snapping away at the scene on his iPhone. His parted silver hair and spotted brown glasses make him a striking figure, even on a New York City sidewalk. Sakamoto has always been handsome — surely a reason why Nagisa Oshima insisted the non-actor star opposite David Bowie in 1983’s “Merry Christmas, Mr.

Lawrence” — but today he favors a more restrained approach than the he once affected.  The restaurant is across the street from Sakamoto’s home studio, and our waiter greeted him like a regular. The composer spoke in a sotto voce whisper, his voice still weak from the cancer, but his opinions were as forceful as ever, especially when our conversation turned to movies. A devoted cinephile who recently served on the jury of the Berlinale (“I admire the craft of ‘Isle of Dogs,’ but the script could be better, and the film is misleading about Japaneseness”), Sakamoto related even the most serious things back to the movies. Read More: When we talked about the closeness of death — the way that a single moment is all that separates a person from being diagnosed with a terminal disease, or a car from being flattened by a tree — he sighed: “It’s a thin line by the way, I love that film, ‘The Thin Red Line.’” During treatment, when the pain was too intense for Sakamoto to even read, he sustained himself on Chinese cinema. “Lots of Shaw Brothers kung-fu movies — no brainpower required.

Also Zhang Yimou, Jia Zhangke, Chen Kaige, and of course the Taiwanese genius Edward Yang.”. Also: The story behind her favorite “Portlandia” episode of all time, “The Story of Toni and Candace,” and whether she and Fred Armisen will ever revisit the show. Episode 13: The outstanding drama, comedy, and limited series Emmy races may appear to have their frontrunners, but surprises are possible at next month’s ceremony. There are many exciting movies around the corner, but we already have much to celebrate. The Emmy-nominated showrunner discusses how 1994’s two-hour “ER” premiere “24 Hours” changed TV.

Plus: His favorite “The Handmaid’s Tale” episode.