hospitalité 歓待1.1 Dir: Koji Fukada (2011)

hospitalité   Hospitalite Film Poster

歓待1.1 Kantai 1.1

Running Time: 153 mins.

Release Date: April 23rd, 2011

Director:  Koji Fukada

Writer: Koji Fukada (Screenplay)

Starring: Kenji Yamauchi, Kiki Sugino, Kanji Furutachi, Bryerly Long, Eriko Ono, Naoki Sugawara, Hiroko Matsuda,

IMDB

Japan is a society where manners and decorum are everything. This is good for the most part. Politeness is the oil that makes society run smoothly. It does have its problems because it can be a nice veneer used to cover up nefarious behaviour or act as a battering ram forcing people to act certain ways. In such an environment, all sorts of negative emotions like paranoia and mistrust can run rife under the surface of individuals and social groups. Hospitalite makes this environment its playground and takes things to absurd heights as it critiques how Japanese society can use outsiders as a scapegoat for problems inside the community.

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At the Terrace (2016) テラスにて Dir: Kenji Yamauchi

I have been a bit quiet lately because I have embarked on a new project on another website (more on that) and I have moved to another city in Japan for a couple of weeks. I have also been hanging out with friends who took me to an onsen and then a maid cafe. Despite a hectic schedule I managed to watch one film, At the Terrace. My review for the film At the Terrace is up over at V-Cinema. Here’s a preview with trailer and images following:

At the Terrace

Terasu ni te テラスにて

Release Date: October 2016 (Tokyo International Film Festival)

Running Time: 95 mins.

Director: Kenji Yamauchi

Writer: Kenji Yamauchi (Screenplay),

Starring: Kei Ishibashi, Kami Hiraiwa, Ryuta Furuta, Kenji Iwaya, Hiroaki Morooka, Takashi Okabe, Atsushi Hashimoto,

JFDB

Playwright and director Kenji Yamauchi premiered his film At the Terrace during the 2016 edition of the Tokyo International Film Festival where it garnered positive buzz from critics for its mix of sensuous and caustic comedy. Based on one of his plays, Trois Grotesques, Yamauchi refuses to cleave away too far from his source and keeps things simple with a film shot in a single location with a cast of seven actors, all of whom were players in the preceding play itself. Perhaps because of their familiarity with the material, the director and his cast bring about a film that, while not being particularly cinematic, proves to be awfully amusing and painfully funny as it explores some bitter feelings and bad behaviour bubbling away underneath polite Japanese exteriors of a group of acquaintances.

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