Kontora, Caution, Hazardous Wife: The Movie, You’re Not Normal, Either, Left of Chopin, Ikiro Shimada Akira Senchuu Saigo no Okinawa Kenchiji, Me and the Cult Leader, Eiga Healin’ Good ♥ Precure Yume no Machi de Kyun! tto GoGo!, and Other Japanese Film Trailers

Happy weekend, everyone!

Itomichi Film Ren Komai and Mei Kurokawa

I hope that you are all doing well.

This week I covered a couple of Osaka Asian Film Festival posts with my interview with Oudai Kojima going live as well as my review of the Satoko Yokohama film Ito. For now, I’ll be watching some Shohei Imamura films.

What is scheduled for Japanese cinemas this weekend?

Continue reading “Kontora, Caution, Hazardous Wife: The Movie, You’re Not Normal, Either, Left of Chopin, Ikiro Shimada Akira Senchuu Saigo no Okinawa Kenchiji, Me and the Cult Leader, Eiga Healin’ Good ♥ Precure Yume no Machi de Kyun! tto GoGo!, and Other Japanese Film Trailers”

Genkina hito’s Top Fourteen Films of 2020

祖谷物語 おくのひと Rina Takeda

Wow, I had no idea that 2020 would turn out like this when I wrote last year’s end post. We’re a few days away from the end of what has been a plague year. I almost got caught out at the start when I was in Japan and the borders were going to be closed, back at the end of March, but I escaped with the help of some friends. Since then, I have been in work on reduced duties or at home waiting to be called in for odd jobs. When not working, I was doing shopping with my mother and checking in on my grandmother.

During this time of waiting, I watched a lot of films, some as part of the Osaka Asian Film Festival, Nippon Connection, Japan Cuts and the New York Asian Film Festival, a lot just for pleasure. I took part in a physical film festival in Japan and I helped organise and execute an online film festival twice and during all of this I wrote a lot of reviews. Probably more reviews than in previous years. On top of it all, I also helped start a podcast about Asian films called Heroic Purgatory where I discuss films with fellow writer John Atom (the Christmas special is already out and the second season coming in 2021!).

When I was able to go to the cinema I watched a wide variety of things. In the UK, the last film I watched was Parasite with my mother. In Japan, I went to numerous screenings at the Osaka Asian Film Festival and an animation festival at the Yujiku Asagaya (just before Tokyo’s lockdown). At home with a lot of time on my hands I got into the cinema of Mario Bava and re-watched lots of Lucio Fulci and Dario Argento movies. I waded through hours of 70s and 80s horror movies from America and I went back to some tried and trusted Japanese classics. Most of all, I tried to get more Japanese indie films out there and so I think this is reflected in my list of top films from 2020.

So, what are they?.  

Continue reading “Genkina hito’s Top Fourteen Films of 2020”

Japanese Films at the Skip City International D-Cinema Festival 2020

The Skip City International D-Cinema Festival runs from Saturday, September 26th Skip City International DCinema Festival Poster 2020to Sunday, October 4th, 2020. Skip City was one of the first international competitive film festivals to exclusively feature digital cinema and in 2020 the 17th edition of the festival will be a totally difital experience as organisers take the festival online for the first time ever. There are 24 films programmed and they will be viewable over at the website Cinema Discoveries, a new streaming service that started in April this year. In terms of subtitles, Skip City provides English ones for Japanese films, so I am assuming they will do so for this year’s edition.

This is my first ever post about the Skip City International D-Cinema Festival even though I have been aware of it for many years since it is a hotbed of new film talent from Japan and its English-language information has helped me write trailer posts and festival previews in the past. The main reason I decided to write about it is because it features two works I reviewed as part of the Osaka Asian Film Festival earlier this year. These two titles and the filmmakers whom I interviewed provide a bright future for the Japanese film industry and I hope more people can watch their films.

My rewrites will get rewritten eventually but, for now, I suggest that you go to the festival page to see a better synopses and more director information…

Here are the films. To find out more information about them, just click on the titles:

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Interview with Kontora Director Anshul Chauhan [Osaka Asian Film Festival 2020]

Osaka Asian Film Festival Anshul Chauhan

My final interview at this year’s Osaka Asian Film Festival (OAFF) was with director Anshul Chauhan. We had first met at OAFF 2018 when he participated an interview following the Japanese premiere of his debut feature Bad Poetry Tokyo. This year, he was back with his sophomore feature Kontora, which came to Osaka after having won the Grand Prix for the best film and the award for Best Music (for composer Yuma Koda) at the Tallinn Black Nights Film Festival a few months earlier.

Kontora was one of the stand-outs of OAFF 2020. Majestically shot in black and white, it’s bursting with feelings of discontent felt by the main character, high school girl Sora (Wan Marui). Drifting away from her distant father (Taichi Yamada) and living in a dull town, she finds hope in her recently deceased grandfather’s wartime diary after her beloved relative passes away as she finds clues to some “treasure” buried in a forest. Just as a treasure hunt starts, a mysterious vagrant (Hidemasa Mase) appears in town. Mute and walking backwards, he is a strange sight but his presence forces a change in the relationship between daughter and father. A strange family drama unfolds with a tone halfway between elegiac and angry with a sheen of mystery and history linked to the “treasure” and family dynamics that rope in a greedy uncle (Takuzo Shimizu) and a cousin named Haru (Seira Kojima).

Chauhan and his wife, the film’s producer Mina Moteki, sat down to talk about the film and explain more about its creation, the work put in by the actors and his wider film career. This interview was first conducted at the Osaka Asian Film Festival and then via email and has been edited for length.

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Kontora コントラ Dir: Anshul Chauhan「Osaka Asian Film Festival 2020」

Kontora   

コントラKontora

Release Date: N/A

Duration: 145 mins.

Director: Anshul Chauhan

Writer: Anshul Chauhan (Script) 

Starring: Wan Marui, Seira Kojima, Hidemasa Mase, Takuzo Shimizu, Taichi Yamada, 

OAFF  Twitter IMDB

A lonely teenage girl enduring adolescent turmoil amidst a fractured family’s feud, finds the arrival of a mysterious mute man in her small town allows her to communicate with others. This is the story for Anshul Chauhan’s sophomore feature following his woman-on-the-verge-of-a-breakdown indie drama Bad Poetry Tokyo (2017). Kontora has different atmospherics thanks to its look, raw performance of its lead actress, its generation-spanning story and its touch of the supernatural, so that this film stands distinct from what is normally churned out in Japan in its depiction of contemporary girlhood.

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Osaka Asian Film Festival 2020 Recommendations

It’s almost March and that means the Osaka Asian Film Festival (OAFF) is about to launch for its 2020 edition.

The festival plays from March 6-15 and comes at a time when the international community is convulsed with the spread of the Coronavirus. However, despite the cancellation of part of the programme (a decision taken by one of the festival’s co-hosts), the rest of the event is scheduled to go with 58 films to be screened and a whole host of guests to attend. It’s a ballsy move typical for a fest that screens hard-hitting works that challenge audiences. Also typical is the way the programmers continue to search out and provide a platform for talented individuals and stories that contain thorny issues.

If OAFF has an identity, it’s a rebellious guy or gal standing up for someone else as borne out by the films programmed with the fiery fight for democratic rights in Hong Kong seen in Apart (2020), a myriad of LGBTQ+ stories from across Asia, the biggest title this year being the Taiwanese romance Your Name Engraved Herein (2020) which gets its world premiere at the fest. Nearly half of all festival berths given to female directors and it is on the basis of quality rather than tokenism as seen with the moving drama Way Back Home (2019) and there are a lot of pure entertainment film, many from the Philippines which bring some absolutely charming romances for audiences to relax to like Write About Love (2019) and Last Song Syndrome (2019).

Here’s a trailer for the fest:

The line-up for this year’s festival is as exciting as it has ever been and while the slate features names from returning directors, there is a deep well of new talent on display in various sections and if you want to see the cinematic output of Asia in one place, this has to be it, especially since the films will have English subs.

I’ll be on the ground at the festival to review films. Although post-film Q&As have been cancelled, if any of the filmmakers are present I still might have the chance to interview creatives to highlight some of the gems that may be gracing other festivals and cinemas around the world.

Please check the full line-up of OAFF 2020 which can be found here on the official site (complete with synopses I have written) and here is a summary on my blog.

Here are my recommendations:

The Girl with the Gun (Rae Red, 2019, Philippines)

A fearsome performance from Janine Gutierez helps propel Rae Red’s solo feature directorial debut which also stars an ensemble of great actors who play a group of characters all connected to the titular gun as we look at the lifespan of a weapon passing through the hands of people from the politically turbulent 1980s to the crime-ridden era of now.

While the crime genre is typically male-dominated, in the Philippines, filmmakers have recently tackled it from a female perspective with “Buy Bust” (2018) and “Neomanila” (2017) and “Birdshot” (2016), which Rae Red helped write, being some standout titles. “The Girl and the Gun” offers a thrilling, visually crisp narrative with a message about power dynamics between people, and the gender analysis, with the inflection of violence, proves to be most gripping.

Kontora (Anshul Chauhan, 2019, Japan)

Anshu Chauhan — whose film “Bad Poetry Tokyo” (2018) won Best Actress at OAFF 2018) — returns to the competition with “KONTORA”, a movie which takes in a family drama and the echoes of World War II.

Set in rural Japan, the movie follows a high school girl who loses the one family member she can talk to, her grandfather, is left trying to make sense of the stifling reality surrounding her and the distant relationship from her father but hidden treasure and a vagrant who only walks backwards promises to change the dynamics in her life. Chauhan again explores the clashes between past and present and the frustration of youth stuck with older generations that are inflexible and selfish but with black and white visuals and majestic camerawork and it has a mysterious tone to it which proves absorbing.

Lucky Chan-sil (Kim Cho-hee, 2019, South Korea)

Following the Oscar wins for “Parasite” If you want to sound smart when talking about South Korean cinema, you can bring up the work of Hong Sang-soo and wow any neophyte cinephiles and impress the slightly more clued up who are familiar with his talky and repetitive films. If you want to sound even smarter, try selling them on the debut film of Hong’s former producer, Kim Cho-hee who takes his style and peoples it with genuinely lovely characters.

For her debut, Kim casts actors familiar from Hong’s films and a relatively new actress, Kang Mal-geum, who is the titular Chan-sil, a movie producer who hits hard times and goes through an emotional crisis when a director dies. Plenty of amusement is to be had as Chan-sil tries to get back on track but the film has drama lurking underneath as the main character experiences some bleak and humiliating moments that gets her to question her life choices and it turns out to be a harrowing to go through it with her and proves to have deeper things to say about the human experience than a Hong film.

Looking for a Lady with Fangs and a Moustache (Khyentse Norbu, 2019, Nepal and Mexico)

“Looking for a Lady with Fangs and a Moustache” has to have one of the best titles of the year and if it sounds barking mad, it makes complete sense at the end of the film. Almost. The semi-abstract story is full of philosophy as a thoroughly modern man living in Kathmandu goes on a mystical journey to save his life. There is a  lot of introspection over the clash between modernity and tradition in Nepal as the film tracks the plight of the psychologically ailing character divided between his attraction to western and city lifestyle and his home culture but the chief pleasure of the experience are the majestically beautiful images shot by Khyentse Norbu. Each frame is a painting that could adorn a wall so while the philosophising might drive you crazy, you can luxuriate in a relaxing and beautiful experience.

VIDEOPHOBIA (Daisuke Miyazaki, 2019, Japan)

Nobody makes stories about the youth of Japan like Daisuke Miyazaki and his latest feature (following “TOURISM“) is completely different. A shadowy tech film that comes with a David Lynchian twist where the world we see is our own but made alien through how technology makes the main character powerless. The movie follows a young woman named Ai whose night out at a club results in a sex video being made. The only thing is, she had no idea she was being filmed. What’s worse is that the video is spread online like a virus.

The narrative sees Ai become disassociated from herself in a disturbing psycho-sexual narrative that leaves many ideas for the audience to mull over once the film is over. Anchored by a great performance from Tomona Hirota and set in Osaka, it’s an original idea made effective by the mise-en-scene and electro soundtrack. The film’s genre-defying nature positions Miyazaki as one of the filmmakers to watch in this year’s edition.

Made in Bangladesh (Rubaiyat Hossain, 2019, France, Bangladesh, Denmark and Portugal) 

Director Rubaiyat Hossain, a new and brave feminine voice in Bangladeshi cinema. With three titles to her name, she challenges the male-dominated space to create socially conscious films told from a female perspective. This film is vital in an age of resistance against corporate exploitation and challenges to patriarchy as it looks at female garment factory workers unionising against hazardous working conditions, male oppression and global capital. It serves up an insight into Bangladeshi workplace and society and how we get our cheap goods in the West at the expense of the workers.

Osaka Asian Film Festival 2020 Programme Announcement

Earlier this month, the organisers of the Osaka Asian Film Festival (OAFF) 2020 announced the full line-up for the festival which takes place from March 6-15. This is the best event to see a cross-section of Asian cinema and nearly all of the films will have English subs – the only exceptions we know so far are “Birthday”, ” House of Hummingbird”, and “Malmoe The Secret Mission”.

Despite the issues surrounding Coronavirus, the festival is still going ahead but one section, the co-hosted event “Come to Life! vol.2 Gutai and Nakanoshima”, has been cancelled due to the decision of the co-host organiser. This means six films have been removed which brings the number of selected films screened from a record 64 to 58 in total. This number includes 12 World Premieres, 12 International Premieres, and 3 Asian Premieres with films submitted from countries and regions such as Taiwan, Hong Kong, Poland, South Korea, Japan, and South East Asia.

Continuing on from previous editions of the festival, OAFF remains a beacon of progressive programming as 25 female directors find their works selected with over half the films in the Competition section directed by women. The festival programme features characters from across the world contesting with issues such as war, crime, bullying, LGBTQ+ rights, immigration and unionising in the workplace. OAFF continues to give a platform to filmmakers who face challenging issues, whether the films reckon with historical injustice or paint a brighter future through showing diverse characters navigating their way in our tumultuous world.

Please check the full line-up of OAFF 2020 which can be found here. Tickets for the films screening at the fest are already on sale.


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