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When I Get Home, My Wife Always Pretends to Be Dead  家に帰ると妻が必ず死んだふりをしていま Dir: Toshio Lee (2018)

When I Get Home, My Wife Always Pretends to Be Dead.    When I Get Home, My Wife Always Pretends to Be Dead Film Poster

家に帰ると妻が必ず死んだふりをしています。 Ie ni Kaeru to Tsuma ga Kanarazu Shinda Furi wo Shite Imasu

Release Date: June 08th, 2018

Duration: 115 mins.

Director:  Toshio Lee

Writer: Fumi Tsubota (Screenplay), K. Kajunsky Ichida (Original Story)

Starring: Ken Yasuda, Nana Eikura, Ryohei Otani, Sumika Nono,

Website    IMDB

Ken Yasuda and Nana Eikura make an odd couple in this rom-com that comes with shades of sentimentality and darkness to give a lesson on how some people express a need for love and support.

Based on a series of Yahoo! Answers messages that were novelised, this is the tale of an average salaryman named Jun (Ken Yasuda) who gets a shock whenever he returns home from work: his wife Chie (Nana Eikura) is dead every time. She isn’t really dead. It’s nothing supernatural or nefarious, she just likes to set up a scene complete with elaborate props and costumes for her husband to walk in on. Whether she is as a victim of a wild animal attack, shot through the head with an arrow or worse, Chie likes to surprise her husband. Only he doesn’t like what he sees as strange behaviour and seeks advice from work colleagues as he hopes to curb her performances. There is a deeper motivation to what Chie does and Jun will have to start looking past the theatre and at take his wife’s emotional needs seriously to understand her. Could her cryptic use of the phrase, “The moon is so blue tonight” be the key to making him realise?

Continue reading “When I Get Home, My Wife Always Pretends to Be Dead  家に帰ると妻が必ず死んだふりをしていま Dir: Toshio Lee (2018)”

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If Cats Disappeared From the World  世界から猫が消えたなら Dir: Akira Nagai (2016)

If Cats Disappeared From the World 

If Cats Disappeared From the World Film Poster
If Cats Disappeared From the World Film Poster

世界から猫が消えたなら 「Sekai kara Neko ga Kieta nara」 

Release Date: May 14th, 2016

Duration: 118 mins.

Director: Akira Nagai

Writer: Ryoichi Okada (Screenplay), Genki Kawamura (Original Novel)

Starring: Takeru Satoh, Aoi Miyazaki, Mieko Harada, Eiji Okuda, Anna Ishii, Gaku Hamada, Eita Okuno

Website   IMDB

“If I were to disappear from this world, who would miss me?” Characters in movies usually think this while contemplating death. Of course, every person matters and our lives are connected with each other and the environment so something or someone disappearing has a big impact, but that is not always clear to people as we get swept up in dramatic circumstances and tumultuous emotions. There are tried and tested cinematic journeys used to lead a character to that epiphany of interconnection, either a path defined by hijinks or a contemplative trip down memory lane to show how important we all are, the latter of which happens in this gently powerful and moving film where the main character finds out he will die within days.

Continue reading “If Cats Disappeared From the World  世界から猫が消えたなら Dir: Akira Nagai (2016)”

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Fate/stay night Heaven’s Feel I. Presage Flower (2017) Dir: Tomonori Sudo [Kotatsu Japanese Animation Festival 2019]

The traditional Halloween movie review is back and I wanted to try something different with an action anime I had seen at the Kotatsu Japanese Animation Festival earlier this month.

Fate/stay night Heaven’s Feel I. Presage Flower   gekijouban fate stay night heaven's feel ii lost butterfly film poster

劇場版 Fate/stay night Heaven’s Feel I. presage flower Gekijouban Fate/stay night Heaven’s Feel I. lost butterfly

Duration: 120 mins.

Release Date: October 14th, 2017

Director: Tomonori Sudo

Writer: Akira Hiyama (Screenplay), Kinoko Nasu, TYPE-MOON (Original Creator),

Starring: Ayako Kawasumi (Saber), Noriaki Sugiyama (Shirou Emiya), Jouji Nakata (Kirei Kotomine), Noriko Shitaya (Sakura Matou), Kana Ueda (Rin Toosaka), Mai Kadowaki (Illyasviel von Einzbern),

Animation Production: ufotable

ANN MAL Website

Fate/Stay Night is a venerable series for those who know of it. Originally starting in 2004 as a visual novel from indie video game company Type-Moon, it is an operatic story where the protagonist can join three heroines offering different routes to the finish – Fate, Unlimited Blade Works, Heaven’s Feel. What was an underground game won hardcore fans and became esoteric with every addition to the franchise over the years. This includes the many anime adaptations courtesy of animation production powerhouse ufotable (Gyo: Tokyo Fish Attack). Close collaborators of Type-Moon, they have attempted to try and be faithful to the game’s story and pack in everything into a short running time. Fate/stay night Heaven’s Feel I. Presage Flower is a fateful adaptation that takes on the same-titled, lesser-explored route.

Continue reading “Fate/stay night Heaven’s Feel I. Presage Flower (2017) Dir: Tomonori Sudo [Kotatsu Japanese Animation Festival 2019]”

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New Directions in Japanese Cinema (Japan, 2019) [JAPAN CUTS / OSAKA ASIAN FILM FESTIVAL 2019]

New Directions in Japanese Cinema (ndjc) is a programme which has been in operation since 2007 with the express purpose of cultivating talented young filmmakers through putting them together with experienced actors and crews in workshops for the production of a 30-minute narrative short shot on 35mm film. The 2019 selection of shorts are all well-crafted dramas in production terms and deal with themes of either fractured families or the influence of fathers.

Farewell Family     Sayonara Kazoku Film Poster

サヨナラ家族 Sayonara Kazoku

Release Date: March 02nd, 2019

Duration: 29 mins.

Director:  Kohei Sanada,

Writer: Kohei Sanada (Screenplay)

Starring: Hoshi Ishida, Toshie Negishi, Yui Murata, Shiori Doi, Kazuhiro Sano, Yosuke Saito,

Website

I first encountered Kohei Sanada’s work at the 2017 edition of the Osaka Asian Film Festival. The title was, Icarus and Son, and its story of a father reconnecting with his son left me cold, not least because the father was unsympathetic and the conclusion of the story too obtuse to actually be moving. Sanada continues to mine father-son relationships in this short film which was the first of the five titles to screen when I saw it at the Osaka Asian Film Festival 2019.

Continue reading “New Directions in Japanese Cinema (Japan, 2019) [JAPAN CUTS / OSAKA ASIAN FILM FESTIVAL 2019]”

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And Your Bird Can Sing きみの鳥はうたえる Dir: Sho Miyake (2018) [Japan Cuts 2019]

And Your Bird Can Sing   Kimi no tori wa utaeru Film Poster

きみの鳥はうたえる Kimi no tori wa utaeru

Release Date: September 01st, 2018

Duration: 119 mins.

Director: Sho Miyake

Writer: Sho Miyake (Screenplay), Yasushi Sato (Novel)

Starring: Shota Sometani, Tasuku Emoto, Shizuka Ishibashi, Makiko Watanabe, Ai Yamamoto,

Website IMDB

Film adaptations of stories by the writer Yasushi Sato have slowly been made over the last decade with Sketches of Kaitan City (2010) by director Kazuyoshi Kumakiri, Mipo Oh’s The Light Shines Only There (2014) and Nobuhiro Yamashita’s Over the Fence (2016) joined by Sho Miyake’s And Your Bird Can Sing which premiered at the 2018 Tokyo International Film Festival. All are set in the author’s native city of Hakodate in the north of Japan and all centre on the lives of working-class people, showing them with subtle shades of sadness in slow moving dramas struck through with moments of beauty for some uplift. And Your Bird Can Sing is the least dramatic of the bunch but no less engaging.  

The film takes place over one summer in Hakodate and follows an unnamed protagonist (Tasuku Emoto), simply referred to as “Me” in the credits. He is a freeter who works at a bookstore while sharing an apartment with his unemployed friend, Shizuo (Shota Sometani). They pass their time together drinking from dusk until dawn and shambling home in a fit of giggles after some mild caper. “Me” will frequently roll into work with a hangover while Shizuo will potter around during the day in anticipation of the night to come which promises a repeat of their antics. They are young, aimless and content. However, their lethargic days are shaken when “Me” begins dating his co-worker Sachiko (Shizuka Ishibashi). Independent and quietly rebellious, she is attracted to “Me” and his laid back nature. Curiosity turns into companionship as she gets roped into his hang-about life and meets Shizuo.

For “Me” and Sachiko the future appears so far off as to be inconsequential especially with more immediate pleasures at hand which consist long nights spent bopping to beats in clubs or slipping in and out of a lover’s embrace but change will happen because there is an ever so gentle forward motion to the story driven by Shizuo’s growing attraction to Sachiko. Sho Miyake’s camerawork loves Shizuka Ishibashi’s spirited performance as she slinks and grooves through scenes and she imbues a liveliness to her character which naturally holds the attention of the audience as well as other characters, Shizuo especially as his snatched glances and side-eyed stares segue into touchy-feely interactions during their many trips to karaoke bars and clubs.

“Me” seems to just accept the situation with indifference but the subtle shifting of emotions presages bigger changes as the three friends start to slowly slip away from each other at a time when employment and family pressures mount and provide unwelcome pricks of reality that let the air out of the snug and comfortable world they created. Responsibilities avoided come crashing down and it seems like the fun is over as the story forces them to reassess their situation and recognise a general malaise they feel from having held life in stasis for some time. 

This is a soft drama rather than something hardscrabble, something that explores the harmony of companionship where the pace of the film is affected by the lifestyle of the three as they while away their time but the emotional fluctuations are there and they lurk under the surface of scenes, usually in subtle movements of the actors. When the pressure mounts, hints of nastiness emerge, Shota Sometani and Tasuku Emoto able to turn their character on a dime and launch into aggressiveness and then reveal a more sympathetic worry to add welcome layers of emotions to characters that initially just seem aimless. 

Sho Miyake chooses to use this slow pace to delicately tease out the changes felt between these people in moments of low drama so the film ends up feeling like a tender and caring examination of characters preparing to face complicated feelings rather than something harsher as experienced in other adaptations of Yasushi Sato’s work. Miyake probably captures the freeter lifestyle accurately as he respects and translates the pleasures of their lives, shooting everything with a pleasant light, often during dusk and dawn, giving the image a quality that softens everything and renders their activities and the city of Hakodate more beautiful than it could possibly be in reality. Reality can be harsh but there is some hope at the end of this film as they have to leave behind their freeter lifestyles. As much as they like hanging out, at some point the party has to end but who will leave with the girl…?

 

My review for this film was originally published on July 21st at VCinema

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A Japanese Boy Who Draws  ある日本の絵描き少年 Dir: Masanao Kawajiri (2018) [Japan Cuts 2019]

A Japanese Boy Who Draws  Aru Nihon no ekaki shonen Film Poster

ある日本の絵描き少年 Aru Nihon no ekaki shonen

Release Date: March 02nd, 2019

Duration: 20 mins.

Director:  Masanao Kawajiri

Writer: Masanao Kawajiri (Screenplay),

Starring: Takeshi Uehara, Yasumi Yajima, Kenta Abe, Yoshiko Ishii, Shota Suzuki,

Website

Masanao Kawajiri’s experimental short animation depicts the life of a boy aiming to be a manga artist. It took the Runner-up Award for the Grand Prize at last year’s Pia Film Festival awards (missing out to Orphan’s Blues) but took the Gemstone Award which is given to, “the most progressive and daring film made beyond the common ideas of filmmaking”. A Japanese Boy Who Draws definitely fits this bill as it marries the magic of art and animation and their many different styles to a mockumentary to tell an enjoyable story of someone pursuing their dream.

The film follows the life and career of Shinji Uehara, someone who pursues his passion for drawing, from the age of one to his life as a professional enduring the vicissitudes of the manga industry.

Continue reading “A Japanese Boy Who Draws  ある日本の絵描き少年 Dir: Masanao Kawajiri (2018) [Japan Cuts 2019]”

Lying to Mom 鈴木家の嘘 Dir: Katsumi Nojiri, Japan, (2018) [New York Asian Film Festival 2019]

Lying to Mom  The Suzuki_s Family Lie Film Poster

鈴木家の嘘 Suzukike no Uso

Release Date: November 16th, 2018

Duration: 133 mins.

Director:  Katsumi Nojiri

Writer: Katsumi Nojiri (Screenplay),

Starring: Hideko Hara, Mai Kiryu, Ryo Kase, Ittoku Kishibe, Nao Omori, Kayoko Kishimoto, Nahoko Yoshimoto, Shohei Uno, Chiaki Kawamo, 

Website IMDB

Katsumi Nojiri has had a long career working as an assistant director on a diverse array of films such as the comedies Seto and Utsumi (2016) and Thermae Romae II (2014) as well as dictionary drama The Great Passage (2013). For his directorial debut he harnesses a touch of comedy to craft a heartfelt film that is sadly inspired by the death of his own brother. In Lying to Mom, he unpacks all of the difficulties surrounding suicide felt by one suburban family and captures some of the difficult dynamics that play in addressing sensitive topics.

The suburban family at the heart of the story are the Suzuki clan which consists of father Sachio (Ittoku Kishibe), mother Yuko (Hideko Hara), son Koichi (Ryo Kase) and daughter Fumi (Mai Kiryu). They seem normal with Sachio being a bit of a hands-off patriarch, Yuko running the household as a devoted mother and Fumi being a university student but Koichi is a hikikomori and, apart from brief spells in odd jobs, has struggled to step outside of his room after graduating from university. One day, whatever is weighing him down finally becomes too much to bare and he hangs himself in his room.

Continue reading “Lying to Mom 鈴木家の嘘 Dir: Katsumi Nojiri, Japan, (2018) [New York Asian Film Festival 2019]”

The Gun 銃 Dir: Masaharu Take (2018) [New York Asian Film Festival 2019]

The Gun       The Gun Film Poster

Juu

Release Date: November 17th, 2018

Duration: 97 mins.

Director:  Masaharu Take

Writer: Masaharu Take, Hideki Shishido (Screenplay), Fuminori Nakamura (Original Novel)

Starring: Nijiro Murakami, Alice Hirose, Lily Franky, Kyoko Hinami, Risa Niigaki, Junpei Goto, Moemi Katayama, Amane Okayama,

Website IMDB

Masaharu Take has a knack of making good character-driven dramas as exemplified by 100 Yen Love (2015) which cemented Sakura Ando as a real headlining acting talent after she spent years impressing auds with steady work in smaller semi-comedic roles (For Love’s Sake, Love Exposure) and indie dramas (Our Homeland, 0.5mm). This film, an adaptation of a novel, offers Nijiro Murakami (Destruction Babies) a meaty role to make a name for himself.

“Last night, I found a gun.”

The film opens with what appears to be a suicide one rainy night. Blood pours out of a shattered skull onto a rain-sodden riverbank. The titular gun, a .357 Magnum Lawman Mk III, is lying next to the body. The camera caresses its smooth, short, shiny and curved form and soon someone will lavish the same attention on it.

Continue reading “The Gun 銃 Dir: Masaharu Take (2018) [New York Asian Film Festival 2019]”

The Miracle of Crybaby Shottan    泣き虫しょったんの奇跡 Dir: Toshiaki Toyoda (2018) [Japan Cuts 2019]

The Miracle of Crybaby Shottan   The Miracle of Crybaby Shottan Film Poster

泣き虫しょったんの奇跡 Nakimushi Shottan no Kiseki

Release Date: September 07th, 2018

Duration: 127 mins.

Director: Toshiaki Toyoda

Writer: Ayako Kato (Screenplay), Shoji Segawa (Autobiographical Novel)

Starring: Ryuhei Matsuda, Yojiro Noda, Shota Sometani, Satoshi Tsumabuki, Takako Matsu, Kiyohio Shibukawa, Kaoru Kobayashi, Jun Miho, Jun Kunimura, Tatsuya Fujiwara, Itsuji Itao, Shizuka Ishibashi, Issey Ogata, Kento Nagayama,

Website IMDB

Considering Toshiaki Toyoda made his entry into Japanese films with low-budget punk titles about outsiders like Pornostar (1998) seeing him take on a film about shogi, or Japanese chess, is something of a surprise until you find out that he initially trained in shogi as a child. That, and the lead character of this biopic, the titular crybaby Shoji (Shottan) Segawa, was an outsider and trailblazer himself when he became a shogi professional well past the age when it is acceptable.

Continue reading “The Miracle of Crybaby Shottan    泣き虫しょったんの奇跡 Dir: Toshiaki Toyoda (2018) [Japan Cuts 2019]”

The Kamagasaki Cauldron War 月夜釜合戦 Dir: Leo Sato (2018) [Japan Cuts 2019]

The Kamagasaki Cauldron War  The Kamagasaki Cauldron War Film Poster

月夜釜合戦 Tsukiyo kama gassen

Release Date: March 09th, 2019

Duration: 115 mins.

Director:  Leo Sato

Writer: Leo Sato (Screenplay),

Starring: Naomichi Ota, Yota Kawase, Kiyohiko Shibukawa, Kazu, Makoto Nishiyama, Shoji Omiya, Naori Ota, Tsumugi Monko, Maki Nishiyama, Marie Decalco, Susumu Ogata, Masao Adachi

Website IMDB

Kamagasaki is a slum-like part of Osaka’s Nishinari district which is notorious for having a high concentration of day labourers, homeless and a history of civil unrest, not to mention its proximity to the Tobita Shinchi red-light district. When I lived in Japan and moved from Tokyo to Nishinari I was given warnings and advice from friends. The way some people talked about the history of Kamagasaki made it sound anarchic and dangerous. By the time I got there things had become tamer thanks to gentrification driven by the boom in tourism and my experience was positive. Indeed, as soon as I was off the train a day worker with a sunny disposition struck up a conversation and offered to buy me a drink before my landlady rescued me from the surprise invitation and showed me around the district. They were the first of quite a few residents who took the time to talk to me and dispelled myths by telling me different stories of a poor but proud community who have had to fight for their human rights and dignity. The history and feel of Kamagasaki is strong and director Leo Sato has managed to bring it to life in his debut feature fiction film which creates a feel for the place.

Continue reading “The Kamagasaki Cauldron War 月夜釜合戦 Dir: Leo Sato (2018) [Japan Cuts 2019]”