6 items from 2015
100 Yen LoveSTORY78%ACTING83%DIRECTING80%VISUALS70%DirectionSakura AndoRealismLow-Budget2015-10-3178%Overall ScoreReader Rating: (0 Votes)0%
Another splendid sample of Japanese indie cinema, 100 Yen Love depicts with raw realism, the contemporary life in the metropolis of the country, which is chiefly characterized by alienation and solitude.
Ichiko is a 32-year-old living with her parents in the first floor of the bento they own, while recently, her sister has also moved there with her son, due to her recent divorce. Ichiko is a true slob, spending her time playing video games with her nephew, not helping in the shop whatsoever, both facts that constantly infuriate her sister. Moreover, even if her character is flawed, her appearance is even worse, since she is permanently uncombed and unkempt, to the point of usually looking similar to a homeless person. During a fight between the sisters, matters gets out of hand, and the two of them wind up wrestling on the floor. »
- Panos Kotzathanasis
Are the days of flesh-and-blood actors numbered? Audiences at Tokyo International Film Festival (Tiff) now have a chance to answer the question for themselves.
Festival-goers were this weekend treated to what makers claimed is the first movie to feature an android performing opposite a human actor.
Koji Fukada’s “Sayonara,” which had its world premiere Saturday as part of Tiff’s competition section, showcases the thespian talents of Geminoid-f, an eerily lifelike female android created by roboticist Hiroshi Ishiguro.
The film is adapted from a short play by Oriza Hirata, first staged in 2010 by Hirata’s Seinendan Theater Company. Japanese-speaking actress Bryerly Long, who starred opposite Geminoid-f in the original stage production, reprises the role in the movie.
“In some ways, this is a new form of puppet theater,” Long said at a Tiff press conference, as her android co-star sat quietly to one side.
Ishiguro – who also has an android copy of himself, »
- James Hadfield
Don’t say “Sayonara” to human actors just yet. A provocative experiment in whether androids could share the stage with people — for which Japanese playwright Oriza Hirata partnered with Osaka U. robotics guru Hiroshi Ishiguro, inventing a two-hander to be performed between a flesh-and-blood thesp and a stunningly lifelike machine — loses much of its interest on the bigscreen, where actors have been co-starring opposite robots of one form or another for decades. Whereas the stageplay attracted those curious to witness firsthand what android acting entails, on film, the effect dissipates moments after audiences set eyes on Ishiguro’s uncannily realistic Geminoid F, revealing instead the myriad dramatic shortcomings that will limit “Sayonara’s” welcome abroad, following its local-pride premiere at the Tokyo Film Festival.
Much as magic tricks lose their potential to inspire awe when re-created onscreen, or an actor’s impressive ability to recite a long Shakespearean soliloquy is »
- Peter Debruge
Helter Skelter (2012) Review (Mika Ninagawa)STORY82%ACTING78%DIRECTING75%VISUALS90%Great castMeaningful storyExcellent cinematographyThe script is a little naive at times2015-10-0981%Overall ScoreReader Rating: (1 Vote)66%
Based on the homonymous manga by Kyoko Okazaki, that won a number of awards in Japan, Helter Skelter was one of the most successful films of 2012, grossing Us$24,231,554 and netting the 26th position at the Japanese box office.
Lilico is the top Japanese female idol: Stunning to perfection, kind, funny and generally, socially unblemished, she is a woman every teenage girl wants to be like and every man wants to conquer. Underneath that flawless facade though, a plethora of secrets and discrepancies is lurking.
Lilico is actually an insecure, shallow, malicious and overall sad individual that permanently obeys the commands of her corrupt and emotionless manager, Hiroko Tada and is totally depended upon her assistant, Michiko Hada. The latter actually arranges everything in her daily life, »
- Panos Kotzathanasis
100 Yen Love
Written by Shin Adachi
Directed by Masaharu Take
In some ways, the Japanese director Masaharu Take’s 100 Yen Love feels about as old-hat as the 12/8, bluesy guitar music which makes up the bulk of the film’s score: it’s yet another boxing drama about an outcast who finds herself in the ring. There’s nothing in the story we haven’t heard before, and, like the music, its willingness to rehash cliches makes it risk self-parody. But conveying art through established traditions can have a certain nostalgic charm, and both the music and the film it provides the soundtrack for play off tropes to create a crowd-pleaser which oozes appeal.
A large part of that appeal comes from Sakura Ando, who gives a captivating performance as Ichiko, a 32 year-old virgin who lives with her parents and gets into violent fights with her recently divorced sister. She »
- Max Bledstein
Director Wang talks to ScreenDaily about working with Takeshi Kitano.
Us-based director Wayne Wang, known for films such as The Joy Luck Club, Smoke and Maid In Manhattan, wrapped his shoot with iconic Japanese actor Beat Takeshi, a.k.a. Takeshi Kitano, for suspense mystery While The Women Are Sleeping in Tokyo on Saturday (July 11).
Based on Javier Marias’ short story of the same title published in The New Yorker, While The Women Are Sleeping debuted in early form at Busan’s 2013 Asian Project Market.
Shot mostly in Izu, the film is about Sahara (Kitano), a mysterious older man who is at a resort with his young girlfriend. It is told from the point of view of Kenji, a writer who is also visiting the resort for a week with »
- email@example.com (Jean Noh)
6 items from 2015
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