Japanese Films at the Cannes Film Festival 2018 Review Round-Up: Mamoru Hosoda’s “Mirai”

Mamoru Hosoda’s new Mirai no Mirai (Mirai of the Future) was screened at Cannes in the Directors’ Fortnight section and it took a while for a bunch of reviews to be published online but they are there to be discovered and they are all full of praise for the film.

Mirai

Mirai of the Future Film Image

Mirai of the Future    Mirai of the Future Film Poster

未来のミライ Mirai no Mirai

Running Time: 100 mins.

Release Date: July 20th, 2018

Director:  Mamoru Hosoda

Writer: Mamoru Hosoda (Screenplay/Original Work)

Starring: Haru Kuroki (Mirai-chan), Moka Kamishiraishi (Kun-chan), Gen Hoshino (Father), Koji Yakusho (Father), Kumiko Aso (Mother), Mitsuo Yoshihara (Mysterious Man), Yoshiko Miyazaki (Grandmother)

Animation Production: Studio Chizu

Website ANN MAL

Synopsis: A family living in a small house in a corner of a Yokohama dotes on a spoiled four-year-old boy named Kun-chan. When he gets a little sister named Mirai, he feels that his new sister stole his parents’ love from him. Jealousy and resentment well up until he meets an older version of Mirai, who has come from the future and takes him on an adventure.

As previously written, great plaudits for the film. Universal praise. A lot of focus is placed on Hosoda’s own experiences of being a father in a family where a newborn girl took the attention of the parents away from the elder sibling, a boy, and this dose of reality gives the story its hearty content.  

…Hosoda turns life lessons into an exuberant and enriching story full of intriguing ideas…

…From the very start Hosoda nails the chaos and pure joy of family life.” Katherine McLaughlinSciFiNow

Films based on families are what Hosoda tends to do and he tends to mix human drama with the fantastical to make it palatable. There were unconventional families showing the dedication and beauty of personal connections in Wolf Children, Summer Wars, and The Boy and the Beast. The film is closer to The Girl Who Leapt Through Time since it has time-travel with a coming-of-age story and we have time-travel again with all the familiar themes.

Once Hosoda’s fantastical premise kicks in, Mirai unfolds into an episodic, almost plotless story of a child finding their place in the world, and discovering the responsibilities and relationships that help make up their developing identity.” Michael Leader – Little White Lies

The story sounds simple enough and easy to dive into, much like Hosoda’s other films. The real richness comes from the characters and family dynamics.

The film gets praise for its character design/animation as well as the design of locations such as the house. It shows the care and attention that Hosoda typically puts into his films. The Girl Who Leapt Through Time and Summer Wars really capture the imagination with their locations which are so rich with details, well, I have tried on a number of occasions hunting down an old post from a blogger which went into detail about specific rooms and the symbolism of decorations.

“…the character design walks the line with grace between big-eyed anime cutesiness and closely observed realism, capturing with insightful wit the way dogs and kids move and wiggle, especially given the fact that they have different centers of gravity compared to adults. There are also some finely timed slapstick moments, and altogether, the story lasts a comparatively sprightly and pleasant 98 minutes, displaying a brevity that would serve more cartoons from the region well.” Leslie FelperinThe Hollywood Reporter

This film is going to be good!

The Boy and the Beast Trailer

Yesterday it was announced that anime films Hana to Alice Satsujin JikenMiss Hokusai and The Boy and the Beast are set to be shown at the Annecy International Animation Film Festival (The Boy and the Beast is part of the Work in Progress section while Hana to Alice and Miss Hokusai are in Competition) ahead of their theatrical release in Japan in a few months’ time. The directors of the films are regulars of the festival, giving talks and getting awards. I have already written previews about Miss Hokusai and Hana to Alice (no reviews as yet) so that leaves The Boy and the Beast.

Bakemono no Ko Character Design Continue reading “The Boy and the Beast Trailer”

Hayao Miyazaki Retires From Directing Feature Films

Hayao Miyazaki Retires PictureToday was supposed to be the start of a Kiyoshi Kurosawa season but news that Hayao Miyazaki is retiring from making feature films broke yesterday and I have to post about it. According to an NHK report as seen on Anime News Network, during a press conference at the Venice Film Festival on Sunday, Studio Ghibli President Koji Hoshino announced that “studio founder and world-renowned anime filmmaker Hayao Miyazaki will “retire from the production of feature-length films.””

I wrote about this briefly yesterday on the Scotland Loves Animation post but a sentence doesn’t seem fitting for a person who has achieved so much and made so many films I love. At 72-years-old and as one the most critically and commercially successful anime directors (the most successful?), Miyazaki has had a huge impact. He brought so many great works to the screen and was able to connect with both children and adults. His impact can be considered larger because thanks to the appeal of his films he has made anime more exportable. People come to the medium thanks to titles like My Neighbour Totoro.

Continue reading “Hayao Miyazaki Retires From Directing Feature Films”

Genkina hito’s Best Film (and Best Anime) of the Year Part 2 – The Wolf Children Ame and Yuki

Genki Best Of Banner

One of my New Year’s Resolutions for 2012 was to tackle watching anime more Kill Me Baby's First Assassinationaggressively. I ended up watching and enjoying the rather light school assassin comedy Kill Me Baby, a series generally rubbished by critics and viewers alike. I then watched the supernatural school mystery Another, a series which I found to beAnother - Mei Misaki Up Close particularly involving due to its central mystery of figuring out who is the ghost (and I never saw the answer coming). It had a live-action movie released earlier this year and I ended up buying the light novels when I went to the BFI Film Festival. Among other titles that made an impact were Sword Art Online, Mysterious Girlfriend X, and the 1999 TV anime Berserk and its movie adaptation. As much as I liked them, they did not move me to the extent that my anime and film of the year moved me.

The Wolf Children

Genki Jason Anime and Film of the Year Wolf Children Banner

The Wolf Children was the first film I saw at this year’s BFI London Film Festival. The setting was good since I saw it at a wonderful cinema in Leicester Square, I had great company with a fellow cinephile and I was enjoying attending my first major film festival. I was uncertain though…

Not about writing about the film. I figured writing a review of The Wolf Children would be easy because I have been charting its progress since its inception thanks to my work as a journalist of Anime UK News. I can list the works of the script writer, character designer and music composer off the top of my head (because I am the sort of irritating person who can list filmographies and cast lists and bewilder people with them). My uncertainty stemmed from the fact that I am familiar with the director’s previous works…

Now I loved Hosoda’s first film The Girl Who Leapt through Time, which told a bitter-sweet teenage love tale but I was disappointed by Summer Wars which was pretty but felt all too familiar, simple and slight. Heck, I still have not written a review for it despite having made notes. Thankfully The Wolf Children, which tackles a coming of age tale,was complex and had detailed characters who grew and offered insights into existential changes of a family.

Wolf Children Height Check

What was spectacular was not the concept involving transforming children – Ghibli does magical realism all of the time – but the wit and intelligence used to serve it up in a coming of age tale and making something unique. That it observed the changes in the characters and family unit without the requirement of softening anything up was also welcome and added so much to the film.

The script gave granular details of life in the real world, an uncaring universe which forces people to find identities. From the believable start of the film to the enigmatic ending, I was gripped by the story and emotions it evoked. The film never offered trite answers to the challenges faced by the titular wolf children and that was an aspect that I enjoyed tremendously as it made the film gripping, so much so that during the film I (along with all of the audience) was sharing the surprise, joy and tears of the characters and willing the wolf children Ame and Yuki on to better futures. While the character arcs are not all that original the depth of detail and the unique deployment of the fantastical won me over. That it was the mother Hana, a person who is as normal as you or I, who has the most fulfilling arc came as a major surprise and became a major triumph.

This detail and rigorousness extended from the script to the animation and direction. The initial part of the film which roots the travails of the family in real, everyday problems is reflected in the use of close-ups and tight framing, cluttered sets and busy locations while believable and banal things that we tend to forget about pose obstacles and threats. That I felt a palpable relief when the film gave way to the openness of the country with visually stunning scenes of nature shows how much I had been affected and the fact that I actually thought about these things shows that the film succeeded in building a believable world.

This believability comes from the fact that every minute was packed full of detailed backgrounds and life. University noticeboards were packed with detailed leaflets and flyers, school corridors had the freshly clean sheen, raindrops plunged onto leaves and slid down. You can imagine people walking off screen and still existing including Ame and Yuki.

Wolf Children Snow Chase

I have to mention other names involved in the staff (because I am the sort of irritating person who can list filmographies and cast lists – seriously, why do people look bewildered when I do this?). The characters are designed by Yoshiyuki Sadamoto who has a knack of being able to create compelling looking leads. Witness the cast of Evangelion and Royal Space Force: The Wings of Honneamise. It is no different here. The characters look both cute and relatable. Their changes are charted from the maturing of the children to the weight Hana puts on during pregnancy. They have stayed in my mind as vivid and real and life like when other, more stylised anime have fallen off the radar. The film’s soundtrack, composed by Joe Hisaishi who has created some of the best film scores ever, just listen to The Kids Return, Sonatine and Princess Mononoke. The scenes where Ame and Yuki tear around fields are exhilarating due, in part, to his music which, curiously, reminded me of pieces by Michael Nyman.

What also impressed was the big hearted embrace of traditional Japanese mores and ideals. It seemed a much fuller and more warmly crafted love-letter than the one in Summer Wars. A lot of anime is purely entertainment (and there is nothing wrong with that) but this felt like it was saying something and showing a familiar part of humanity but in a fresh way. It was definitely down to all of the details and the strong direction which is what made this my number one film and anime of the year.

The Wolf Children おおかみこどもの雨と雪 (2012)

Genkina hito's Wolf Children Rain and Snow Review Banner

The Wolf Children (Ame and Yuki)                    The Wolf Children Poster

Romaji: Okami Kodomo no Ame to Yuki

Japanese Title: おおかみこどもの雨と雪

Japanese Release Date: 21st July 2012

UK Release Date: 2013

Running Time: 110 mins.

Director: Mamoru Hosoda

Writer: Mamoru Hosoda, Satoko Okudera

Starring: Aoi Miyazaki, Takao Osawa, Yukito Nishii, Haru Kuroki, Amon Kabe, Momoka Oona, Shota Sometani, Kumiko Aso, Mitsuki Tanimura,

The Wolf Children was the first film I saw at the 56th BFI London Film Festival and a film I had been eagerly tracking all year. Despite being left cold by the director’s last film I went into this with an open mind and was soon won over.

Maybe you’ll laugh and say it’s a fairy tale. Think it too preposterous to be true. But it is a true story about my mother.

The Wolf Children is a story about identity and love between parents and children that takes place over thirteen years. It starts when a university student named Hana falls in love with Ōkami who is a “wolf man”. The two have children named after the weather on the day they were born – Yuki (Snow) the older sister and Ame (Rain) the younger brother. The four live quietly in Tokyo concealing the true nature of their existence. Then Ōkami leaves and Hana is faced with the prospect of being a single mother with two children who are half wolf.

The film’s writer and director Mamoru Hosoda is frequently compared to Hayao Miyazaki but while his work shows a similar ease at mixing the fantastical with realism there was always something forced and, in the case of Summer Wars, bland. The Wolf Children is different. Despite providing a familiar coming-of-age tale it is executed with subtlety, realism, detail and humanity, leaving the film feeling refreshingly natural and meaningful.

Till the field

The synopsis, trailers and character design suggest heart-warming fantasy fun but the film’s direction is rooted in realism which is used to underline the struggles faced by characters and depth of feelings felt by the characters. By presenting us with such detail the film defines itself and makes itself original and gripping.

We are first introduced to Hana and through a few deft details like dialogue and a family picture we understand her independent character. We then witness the courtship between Hana and Ōkami and while the idea of a wolf man and a human woman having children sounds outrageous it is handled in a subdued and naturalistic way whether it’s seeing Ōkami’s day job or Hana’s pregnancy cycle, morning sickness and all. The early quarter of the film tracks the parents who sacrifice their own identities as they build a family life. It ensures that we understand that Hana’s acceptance of Ōkami and her children is based on love.

Wolf Children Early PArenthood

When Ōkami leaves it is Hana who emerges as the hero. She exists in a universe which can be quite indifferent and must dig deep into her character to create a family life for the rambunctious and cute Ame and Yuki.

Wolf Children Transform

The wolf children are quite a handful. The script sets up many charmingly cute scenes where they are a recognisable and exhausting combination of child and puppy. They burst with energy and desire to be as mobile as possible, constantly morphing into wolves. This has genuinely amusing consequences like Ame and Yuki’s teething troubles ruining furniture and tantrums usually involving screaming, tears and sprouting whiskers and pointy ears.

Wolf Children Teething

While the situations start off as amusing it is clearly difficult to handle in a crowded place like a city and soon there is a believable undercurrent of fear faced by Hana. Walks in the park are impossible and living in an apartment with a no-pets policy becomes stifling as she restricts her children’s natural exuberance. Most menacingly the child welfare agency appear. All the while Hana is making things up as she goes along but never wavering despite exhaustion. Soon she takes the gutsy decision of moving to the country which opens the film up visually and offers a celebration of family, community and nature.

You have to be stronger

When Hana moves to the country she is initially an outsider herself with locals whispering things like “She’s going to start missing convenience stores”.

She buys a ramshackle house which is lovingly detailed in all of its disrepair. In a montage we see her fixing the place up and engaging in back-breaking farming. These activities display the beautiful animation and speak volumes on Hana’s hope, belief and determination in providing a future for her children. These sequences are most like the  Ghibli classic My Neighbour Totoro but what defines The Wolf Children is the observation on the struggles that Hana faces and the refusal to be sentimental which I appreciated immensely.

Wolf Children Height Check

Eventually Hana and her children are accepted, albeit by hiding their odd forms. While the negativity they faced in the city remains in the memory, the countryside folks exhibit all of the good qualities of Japanese society and the message of the film becomes one of community spirit, as voiced by one of the elderly characters when she says “We have to help each other”.

There is a consistent theme of nature and traditional values and it is told with no fuss. The use of montage and succinct sequences providing vignettes of daily life continue to track the change in the characters, seasons and nature.

With the change in location the film truly comes alive with brilliantly animated sequences which are truly breathtaking and capture spectacular scenes of the natural world in Japan. Mist wreathed mountains, surging waterfalls, endless fields, and dense forests are all vividly brought to life with vibrant colours and deep levels of detail. Gone are the claustrophobic close-ups of the city and in come long-shots of the terrain with the bright pink and blue of Ame and Yuki moving through it. The film moves the action onto a larger canvass as the wolf children experiment with their abilities like being a wolf up against cats and snakes, dashing through tall grass up trees and discovering which part of the natural world’s eco-system they belong to. The best sequence is an exhilarating chase over a snowy landscape as it evokes feelings of youth, discovery, freedom and joy.

Wolf Children Snow Chase

While the titular wolf children can morph between human and wolf in the blink of an eye they face the same difficulties of growing that are universal to everyone, mainly the need to be accepted and know their place in the world and define themselves in their journey to decide whether they will be human or wolf while Hana must also learn to change her character as she watches them mature. Their character arcs are not completely original but thanks to the realism, playfulness and sharp characterisation we are anchored in their struggle and root for them. Every funny use of wolf transformation draws laughter, every dangerous situation draws gasps of shock (one woman in the audience gave a gasp so loud I initially misinterpreted as being part of the soundtrack) and every moment of love and growth draws a smile and, for many in the audience, tears of happiness.

Be human or wolf

I cannot praise the visuals or script enough but on top of direction, script and images, Hosoda also gets pitch-perfect performances from the voice actors. I especially loved the performances of the younger voice actors of Ame and Yuki.

Momoka Oona who plays the youngest version of Yuki is brilliant. Her voice overflows with such tomboyish enthusiasm and energy when she does particularly unladylike things like chasing cats and bagging snakes. Every growl, shout and squeal contained a childish and admirable joy of life and the determination to face the world around them.

Amon Kabe who plays the youngest version of Ame adds such depth to the script’s characterisation with his shy voice full of searching questions and a need for certainty and reassurance. Typical childhood things like fairy tales become sources of pain as he discovers the wolf is always the bad guy. Through him you feel the precarious nature of their situation.

They have the lion’s share of the film and the comedy and they essay their characters so well they become an intrinsic part of the character and remained the way I chose to remember how the characters sounded.

The Wolf Children has to be one of the best films I have ever seen. Its intelligent script and assured direction justify Hosoda’s high critical regard and wash away any doubts about his abilities. Despite echoes of the finest of Ghibli’s output, The Wolf Children feels like its own beast thanks to a script which mixes fantasy with realism and humanity that makes the film have substance. It is a film that pays tribute to Japan and Japanese culture while remaining universal because of its trio of characters who will charm and be familiar to us all.

5/5

Wolf Children Snow Laughter

Genkina hito at the 56th London Film Festival

Getting Any Genki Film Festival Banner

Yep, after months of reporting about international film festivals like Berlin, Cannes, Venice, and Toronto and complaining about not being able to be at them and watching Japanese films, I am finally attending one myself for this is the year I try and increase my coverage by taking part in The 56th London Film Festival. The festival takes place from the 10th until the 21st of October and I will be seeing The Wolf ChildrenKey of Life, and For Love’s Sake.

 

For Love’s Sake              Ai to Makoto Film Festival

Japanese Title: 愛 と 誠

Romaji: Ai to Makoto

Running Time: 134 mins.

Director: Takashi Miike

Writer: Takayuki Takuma (script), Ikki Kajiwara (manga)

Starring: Satoshi Tsumabuki, Emi Takei, Takumi Saito, Sakura Ando, Ito Ono, Tsuyoshi Ihara, Kimiko Yo, Ken Maeda, Yo Hitoto

This will be the final film I see in the festival and I am expecting this to be highly entertaining because it is directed by Takashi Miike. I hate musicals but Miike made The Happiness of the Katakuris which I loved. Tony Rayns, a highly experienced Japanese film expert states, “you can only gasp in disbelief at Miike’s inventiveness: performances, design, choice of golden-oldie hits and fight choreography are all beyond ace.”  Sounds awesome! Anyway Miike reunite with Emi Takei and Takumi Saito (13 Assassins) two stars from his previous film, Ace Attorney. It also stars Satoshi Tsumabuki (Villain) and Sakura Ando (Love Exposure). Takashi Miike’s live-action film adaptation of Ai to Makoto is the fourth so far, the previous three being made in 1974, 75, and 76.

High school student Makoto Taiga (Tsumabuki) is an ultra-delinquent who has arrived in Tokyo to avenge an incident from his past. That will have to wait as he falls in love with the angelic Ai (Takei) who comes from a respectable family. Things will get complicated as Iwashimizu (Saito) is in love with Ai while Gamuko (Ando) has feelings for Makoto.

 

 

Key of Life                                                          Key of Life Movie Poster

Japanese Title: 鍵 泥棒 の メソッ

Romaji: Kagi Dorobou no Meoddo

Running Time: 128 mins.

Director: Kenji Uchida

Writer: Kenji Uchida

Starring: Masato Sakai, Teruyuki Kagawa, Ryoko Hirosue, YosiYosi Arakawa, Yoko Moriguchi

This film gets a glowing write up from Tony Rayns who describes it as “deliciously funny, not to mention brilliantly timed and acted with relish by the all-star cast.”  Some of that cast includes Teruyuki Kagawa (Tokyo Sonata), Masato Sakai (Sky High, The Samurai that Night), Ryoko Hirosue (Departures), YosiYosi Arakawa (Fine, Totally Fine, Quirky Guys & Girls), and Yoko Moriguchi (Casshern). I was sold on this from the cast and the trailer and so I will be watching this at the festival.

 

Sakurai (Kondo) is an aspiring but unsuccessful actor who has recently attempted suicide but is unsuccessful at that. He decides to head to a local bathhouse to ease his suffering and whilst there he witnesses a stranger in the neighbourhood named Kondo (Kagawa) who slips and knocks himself unconscious. Sakurai takes advantage of this and helps himself to Kondo’s locker key. He loots Kondo’s belongings and assumes his identity which is a pretty bad idea considering that Kondo is an assassin working for a yakuza. For his part Kondo wakes up in hospital minus his memory and so assumes Sakurai’s life as an actor but applies his dedicated nature to the craft while trying to recover his memory. 

 

The Wolf Children             The Wolf Children Poster

Running Time: 117 mins.

Director: Mamoru Hosoda

Writer: Mamoru Hosoda, Satoko Okudera

Starring: Aoi Miyazaki, Takao Osawa, Yukito Nishii, Haru Kuroki, Amon Kabe, Momoka Oona, Shota Sometani, Kumiko Aso, Mitsuki Tanimura,

This is the biggest draw of the festival for me. I have been posting about this film since the earliest trailers were released in Japan and it hit the Japanese movie box office charts. I am a major fan of Mamoru Hosoda’s first film, The Girl who Leapt Through Time, but Summer Wars left me cold despite the excellent animation and assured script. The Wolf Children could be the film that reaffirms my interest in him or kill it off. Just watching the trailer I figure I will get emotional at some point and get swept up in the story and there is every possibility that this will happen because Hosoda is aided with scripting duties by Satoko Okudera who has worked on major anime movies like Summer WarsMiyori’s ForestThe Girl Who Leapt Through Time, and The Princess and the Pilot and legendary character designer Yoshiyuki Sadamoto (Nadia: The Secret of Blue Water, FLCL, Evangelion) is the character designer. The voice actors are familiar from the world of live action movies. Hana is voiced by the actress Aoi Miyazaki who starred in Shinji Aoyama’s 2000 film Eureka (which I received a couple of weeks ago), Ōkami is voiced by Takao Osawa (All About Lily Chou-Chou – a film that I dread watching because I was left emotionally drained), Yuki is voiced by Haru Kuroki, and Ame is voiced by Yukito Nishii (Confessions). Other notable names include Momoka Oona (Mitsuko Deliversa film that was blah) who plays an even younger version of Yuki, Amon Kabe who plays an even younger version of Ame, Shota Sometani (HimizuSadako 3DIsn’t Anyone live?), Mitsuki Tanimura (13 Assassins), and Kumiko Aso (Pulse – an awesome J-horror!).

A story of love between parents and children that takes place over thirteen starts when a university student named Hana falls in love with Ōkami who is a “wolf man”. The two marry and have children named after the weather on the day they were born – Yuki (snow) the older sister and Ame (rain) the younger brother. The four live quietly in a city concealing the true existence of their relationship until Ōkami dies and Hana decides to move to the country.

Check out Alua’s post for more information on other titles worth checking out. I bet nobody will be able to guess which film the image comes from!

Japanese Films at the 56th BFI London Film Festival

Hyouka Genkina hito BFI LFF 56

Last year I started writing about film festivals – I think Venice was the first because I was following a film named Himizu. The British Film Institute’s London Film Festival is a popular post that still gets views today. This year I decided to try and increase my coverage and even take part in a festival. The 56th London Film Festival will be the first major one I will visit. It takes place from the 10th until the 21st of October and the line-up of films is spectacular. There are some great titles like Nameless Gangster, Rust and Bone, and Antiviral. There is also a strong selection of Japanese films, some of which have been at other festivals and others which have already been released in Japan. I have already written about all but one of them. They all look exciting. As for my own picks they are The Wolf Children, Key of Life, and For Love’s Sake. Very happy titles amidst the darkness. Check out Alua’s post for more information on other titles worth checking out. Maybe I’ll see you there?

What films are at the festival then?

 

Dreams for Sale                                   Dreams for Sale Movie Poster

Japanese Title: 夢 売る ふたり

Romaji: Yume Uru Futari

Running Time: 137 mins.

Director: Miwa Nishikawa

Writer: Miwa Nishikawa

Starring: Takako Matsu, Sadao Abe, Lena Tanaka, Sawa Suzuki, Tamae Ando, Yuka Ebara,  Tsurube Shoufukutei, Tae Kimrua, Teruyuki Kagawa, Yusuke Iseya,

This film has appeared in two posts on this blog already – Toronto Film Festival and a new entry in the Japanese film charts. It is far darker comedy than I am used to seeing from Japan and this twisted relationship comedy looks deliciously immoral.  The principal cast are lead by Takako Matsu (9 Souls, Confessions, April Story), Sadao Abe (Paikaji Nankai Sakusen, After Life), Sawa Suzuki (Loft), Tae Kimura (My House, Kaidan, Starfish Hotel, Infection), and Tamae Ando (Noriko’s Dinner Table, Phone Call to the Bar). I wish I could have seen this one

 

When Kanya (Abe) and Satoko (Matsu) celebrate the fifth anniversary of their restaurant they had no idea it would end with the place burning down. This disaster forces Satoko to take on a job at a noodle shop while Kanya gets depressed and does what most movie men do in such a situation: drink and gamble. Then, one night, he returns home with cash and claims he got it by spending time with a lonely woman.  Satoko is initially angry but then realises the full potential of the scame and so the two embark on a series of sham relationships to get money together to re-open their restaurant. Surely it wont go that smoothly?

 

For Love’s Sake              Ai to Makoto Film Festival

Japanese Title: 愛 と 誠

Romaji: Ai to Makoto

Running Time: 134 mins.

Director: Takashi Miike

Writer: Takayuki Takuma (script), Ikki Kajiwara (manga)

Starring: Satoshi Tsumabuki, Emi Takei, Takumi Saito, Sakura Ando, Ito Ono, Tsuyoshi Ihara, Kimiko Yo, Ken Maeda, Yo Hitoto

This will be the final film I see in the festival and I am expecting this to be highly entertaining because it is directed by Takashi Miike. I hate musicals but Miike made The Happiness of the Katakuris which I loved. Tony Rayns, a highly experienced Japanese film expert states, “you can only gasp in disbelief at Miike’s inventiveness: performances, design, choice of golden-oldie hits and fight choreography are all beyond ace.”  Sounds awesome! Anyway Miike reunite with Emi Takei and Takumi Saito (13 Assassins) two stars from his previous film, Ace Attorney. It also stars Satoshi Tsumabuki (Villain) and Sakura Ando (Love Exposure). Takashi Miike’s live-action film adaptation of Ai to Makoto is the fourth so far, the previous three being made in 1974, 75, and 76.

High school student Makoto Taiga (Tsumabuki) is an ultra-delinquent who has arrived in Tokyo to avenge an incident from his past. That will have to wait as he falls in love with the angelic Ai (Takei) who comes from a respectable family. Things will get complicated as Iwashimizu (Saito) is in love with Ai while Gamuko (Ando) has feelings for Makoto.

 

 Helter Skelter                                            Helter Skelter Poster

Japanese Title: Heruta Sukeruta

Running Time: 127 mins.

Director: Mika Nanigawa

Writer: Arisa Kaneko (Script), Kyoko Okazaki (manga)  

Starring: Erika Sawajiri, Nao Omori, Shinobu Terajima, Gou Ayano, Yosuke Kubozuka, Mieko Harada, Sho Aikawa, Junki Tozuka, Anne Suzuki, Hirofumi Arai

Mika Ninagawa is an art/fashion photographer who made her directorial debut with the gorgeous Sakuran. This is her second film and it is based on Kyoko Okazaki’s psychological manga set in fashion industry. It was the Grand Winner of the 2004 Osamu Tezuka Cultural Prize. Arisa Kaneko is the screen writer adapting the story and she has written the scripts for films like Train Man: Densha Otoko and Welcome Home, Hayabusa. Just a look at the Helter Skelter Erika Sawajiritrailer and pictures of the film reveals that it will be visually spectacular! It stars the incredibly gorgeous Erika Sawajiri (Ghost Train) who is also visually spectacular and who I like very much. As an actress. Ahem. This was one of my initial festival choices but I opted to view For Love’s Sake so I had the rest of the day free and I could do other cultural things. That and ending the festival on this note seemed a bit wrong.

 

 Ririko (Sawajiri) is a vision of perfect beauty. What the public does not know is that her beauty is derived from multiple cosmetic surgeries and a lot of medication. To maintain her beauty and position she needs to keep taking medication and getting surgery but when the clinic that performs her surgery comes under investigation for medical ethics from authorities led by Prosecutor Asada (Omori) Ririko finds her career on the brink of calamity. With pressure mounting, Ririko’s body begins to suffer and her emotions and career, and sanity begin to fall apart.

Key of Life                                                          Key of Life Movie Poster

Japanese Title: 鍵 泥棒 の メソッ

Romaji: Kagi Dorobou no Meoddo

Running Time: 128 mins.

Director: Kenji Uchida

Writer: Kenji Uchida

Starring: Masato Sakai, Teruyuki Kagawa, Ryoko Hirosue, YosiYosi Arakawa, Yoko Moriguchi

This film gets a glowing write up from Tony Rayns who describes it as “deliciously funny, not to mention brilliantly timed and acted with relish by the all-star cast.”  Some of that cast includes Teruyuki Kagawa (Tokyo Sonata), Masato Sakai (Sky High, The Samurai that Night), Ryoko Hirosue (Departures), YosiYosi Arakawa (Fine, Totally Fine, Quirky Guys & Girls), and Yoko Moriguchi (Casshern). I was sold on this from the cast and the trailer and so I will be watching this at the festival.

 

Sakurai (Kondo) is an aspiring but unsuccessful actor who has recently attempted suicide but is unsuccessful at that. He decides to head to a local bathhouse to ease his suffering and whilst there he witnesses a stranger in the neighbourhood named Kondo (Kagawa) who slips and knocks himself unconscious. Sakurai takes advantage of this and helps himself to Kondo’s locker key. He loots Kondo’s belongings and assumes his identity which is a pretty bad idea considering that Kondo is an assassin working for a yakuza. For his part Kondo wakes up in hospital minus his memory and so assumes Sakurai’s life as an actor but applies his dedicated nature to the craft while trying to recover his memory. 

  Continue reading “Japanese Films at the 56th BFI London Film Festival”

The Wolf Children Ame and Yuki Trailer and Japanese Movie Charts

This week I posted a review for the South Korean horror movie Bedevilled, a trailer for Ushijima the Loan Shark and a review of the French film Irma Vep. Irma Vep had been on my movie wish list for a long time and now it has left that and entered my favourite movies of all time.

What’s does the Japanese movie box-office chart look like this week?

  1. Umizaru 4: Brave Hearts
  2. Pikachu the Movie 2012
  3. The Amazing Spider-Man
  4. Helter Skelter
  5. Magical Girl Lyrical Nanoha The MOVIE 2nd
  6. Snow White and the Huntsman
  7. Rinjo
  8. Soreike! Anpanman Yomigaere Bananajima
  9. Man on a Ledge
  10. Thermae Romae

The top 15 of the Japanese movie box-office charts this week are saturated with last week’s releases. Drudgery Train entered at thirteen, Nanoha at five, Helter Skelter at four, the latest Pokemon movie enters at two and Uzimaru 4 storms to the top. Gusko Budori falls out of the top ten in its second week and Thermae Romae still (still!) sticks in the top ten and has achieved $72, 844,388. It boggles my mind how a manga with such a strange premise could achieve so much. I’m assuming it’s a combination of Hiroshi Abe’s great looks and great comedy.

What Japanese films are released today?

What Japanese films are released today?  Last week was very busy with new releases while this week is quiet with The Wolf Children Ame and Yuki being the only major release. It will be interesting to see where this stands next week.

The Wolf Children Ame and Yuki                           The Wolf Children Poster

Romaji: Okami Kodomo no Ame to Yuki

Japanese Title: おおかみ こども の 雨 と 雪

Release Date: 21st July 2012 (Japan)

Running Time: 110 mins.

Director: Mamoru Hosoda

Writer: Mamoru Hosoda, Satoko Okudera

Starring: Aoi Miyazaki, Takao Osawa, Yukito Nishii, Haru Kuroki, Amon Kabe, Momoka Oona, Shota Sometani, Kumiko Aso, Mitsuki Tanimura,

Mamoru Hosoda is frequently called the next “Hayao Miyazaki” but despite similar styles of magical realism and the use of similar themes there is a certain restraint in the fantastical elements that Hayao revels in. My enthusiasm for Hosoda’s work is tempered by the fact that I loved The Girl who Leapt Through Time but was left unimpressed by Summer Wars (which everyone considers his best). As far as this film goes Hosoda is aided with scripting duties by Satoko Okudera who has worked on major anime movies like Summer Wars, Miyori’s Forest, The Girl Who Leapt Through Time, and The Princess and the Pilot. Legendary character designer Yoshiyuki Sadamoto (Nadia: The Secret of Blue Water, FLCL, Evangelion) is acting as character designer here. Madhouse Studio (Paranoia Agent, Black Lagoon, Millennium Actress, Perfect Blue, Master Keaon, Dennō Coil) is co-producing the animation.

A story of love between parents and children that takes place over thirteen starts when a university student named Hana falls in love with Ōkami who is a “wolf man”. The two marry and have children named after the weather on the day they were born – Yuki (snow) the older sister and Ame (rain) the younger brother. The four live quietly in a city concealing the true existence of their relationship until Ōkami dies and Hana decides to move to the country.

The voice actors involved come from the world of live action movies. Hana is voiced by the actress Aoi Miyazaki who starred in Shinji Aoyama’s 2000 film Eureka (she does have experience in anime after voicing Tula in Origin: Spirits of the Past). Ōkami is voiced by Takao Osawa (All About Lily Chou-Chou), Yuki is voiced by Haru Kuroki, and Ame is voiced by Yukito Nishii (Confessions). Other notable names include Momoka Oona (Mitsuko Delivers) who plays an even younger version of Yuki, Amon Kabe(Tada’s Do-it-All House) who plays an even younger version of Ame, Shota Sometani (Himizu, Sadako 3D, Isn’t Anyone live?), Mitsuki Tanimura (13 Assassins), and Kumiko Aso (Pulse).

Trailer for The Wolf Children Ame and Yuki

Writer/director Mamoru Hosoda is a big name in anime. His work on “The Girl Who Leapt Through Time” and “Summer Wars” has seen him called the next “Hayao Miyazaki” but as much as I liked the former the latter left me cold. Here’s a trailer for his next film which will soon be released.

A story of love between parents and children that takes place over thirteen starts when a university student named Hana falls in love with Ōkami who is a “wolf man”. The two marry and have children named after the weather on the day they were born – Yuki (snow) the older sister and Ame (rain) the younger brother. The four live quietly in a city concealing the true existence of their relationship until Ōkami dies and Hana decides to move to the country.

The Voice Actors involved comes from the world of live action movies. Hana is voiced by the actress Aoi Miyazaki (who does have experience in anime after voicing Tula in Origin: Spirits of the Past). Yuki is voiced by Haru Kuroki, Yukito Nishii, who starred in Confessions, voices Ame while Takao Osawa voices Ōkami.

Aiding Hosoda with scripting duties is Satoko Okudera whose career has involved a lot of The Wolf Children Posterstunning films like “Summer Wars”, “Miyori’s Forest”, “The Girl Who Leapt Through Time”, and “The Princess and the Pilot”. More talent is present in the form of the legendary character designer Yoshiyuki Sadamoto who should be familiar from “Nadia: The Secret of Blue Water”, “FLCL”, and the “Evangelion” series.

The movie will go on theatrical release on the 21st of July.

Staff: Mamoru Hosoda (Original Creator, Director, Screenplay), Okudera Satoko (Screenplay), Yoshiyuki Sadamoto (Character Design)

Voice Actors: Aoi Miyazaki (Hana), Haru Kuroki (Yuki), Yukito Nishii, (Ame), Takao Osawa (Ōkami)

Studio: Madhouse Studios