Whatever charges may decently be required against chief Takeshi Nozue’s “Toro,” let nobody guarantee that it isn’t really a motion picture. It will be screened in films. It is almost two hours in length. It presents characters, puts those characters into strife, and determines that contention toward the end. It happens in a completely acknowledged, fantastical setting. It contains detectable item arrangement and an end-credits stinger. At the end of the day, it’s a film.
But then, more than any dramatic stimulation item discharged in late memory, “Toro” brings up the issue “is this really a film?” with irregular direness.