IMDb > Bright Future (2003)
Akarui mirai
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Bright Future (2003) More at IMDbPro »Akarui mirai (original title)


Overview

User Rating:
7.0/10   1,955 votes »
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Director:
Writer:
Kiyoshi Kurosawa (writer)
Contact:
View company contact information for Bright Future on IMDbPro.
Release Date:
3 December 2003 (France) See more »
Genre:
Plot:
Two young guys work in a plant that manufactures oshibori (those moist hand-towels found in some Japanese restaurants)... See more » | Add synopsis »
Plot Keywords:
Awards:
5 wins & 1 nomination See more »
User Reviews:
The elusive invertebrate See more (20 total) »

Cast

  (in credits order)
Jô Odagiri ... Yûji Nimura

Tadanobu Asano ... Mamoru Arita

Tatsuya Fuji ... Shin'ichirô Arita
Takashi Sasano ... Mr. Fujiwara
Marumi Shiraishi ... Mrs. Fujiwara
rest of cast listed alphabetically:
Hanawa ... Ken Takagi
Hideyuki Kasahara ... Shin

Ryô Kase ... Fuyuki Arita
Miyako Kawahara
Chiaki Kominami ... Kaori Fujiwara

Ken'ichi Matsuyama ... Jun
Yoshiyuki Morishita ... Mori
Sayuri Oyamada ... Miho Nimura
Ryô ... Lawyer
Sakichi Satô ... Manager of Recycle Shop
Tetsu Sawaki ... Kei
Kiichi Sonobe
Yûji (as Yuji Nagai)

Directed by
Kiyoshi Kurosawa 
 
Writing credits
(in alphabetical order)
Kiyoshi Kurosawa  writer

Produced by
Takashi Asai .... producer
Itaru Fujimoto .... associate producer
Sadayuki Iwase .... co-producer
Harumi Noshita .... co-producer
Masafumi Odawara .... executive producer
Nobuhiko Sakô .... executive producer
Kenji Takahara .... executive producer
 
Original Music by
Shigeomi Hasumi  (as Pacific 231)
Takemasa Miyake  (as Pacific 231)
 
Cinematography by
Takahide Shibanushi 
 
Film Editing by
Kiyoshi Kurosawa 
 
Production Design by
Yasuaki Harada 
 
Art Direction by
James David Goldmark 
 
Costume Design by
Michiko Kitamura 
 
Makeup Department
Sôichi Umezawa .... special makeup effects artist
 
Second Unit Director or Assistant Director
Tomohiro Kubo .... assistant director
 
Sound Department
Hiromichi Kori .... sound
Masatoshi Saito .... sound effects editor
 
Camera and Electrical Department
Koichi Kuroda .... still photographer
 
Other crew
Linda Hoaglund .... subtitler: English
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Akarui mirai" - Japan (original title)
See more »
Runtime:
France:92 min (Cannes Film Festival) | Japan:115 min | USA:92 min | South Korea:115 min (DVD version) | UK:88 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Company:

Did You Know?

Trivia:
The large group of jellyfish in the Tokyo River was filmed in an aquarium and digitally added to the film.See more »
Quotes:
Shin'ichirô Arita:[embracing Yuji] I forgive you. I forgive all of you for everything.See more »
Soundtrack:
MiraiSee more »

FAQ

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6 out of 14 people found the following review useful.
The elusive invertebrate, 16 January 2008
Author: Chris Knipp from Berkeley, California

Whatever Kiyoshi Kurosawa is to the Japanese audience, for Americans he's distinctly an acquired taste. "Cure "struck me immediately however as haunting, creepy, and drably beautiful; it's just that one can't imagine a steady diet of such stuff. "Pulse", typically stylish and moody, is completely different (and too similar to the "Ringu" franchise), but the only other Kurosawa I've seen so far, "Bright Future," is something else again. Symbolic interpretations of the two aimless, dangerous boys as some kind of statement about Japan's youth seem simple-minded and naive, though surely the ironic title makes that possibility all too obvious. Anyway, the presence of young people both does and does not mean anything in Kurosawa's films. He works very loosely within genres that appeal to youth, but his approach is consistently indirect and enigmatic. What strikes me is the relationship between Nimura and Mamoru--roommates and buddies on the surface, but underneath slave and master, follower and sensei, or symbiotic zombie couple. Their lack of affect turns modern Japanese youth on its head because they're quietly terrifying and somehow also super cool, Nimura's ragged clothing a radical fashion statement and his wild hair and sculptured looks worthy of a fashion model.Mr Fujiwara is the ultimate bourgeois clueless work buddy jerk (he combines two or three different kinds of undesirable associate); but we don't usually kill them. Kurosawa films seem to usually go in the direction of some kind of muted apocalypse, but they proceed toward it casually, as if he didn't quite care where things were going.

That's because the atmosphere and look of his films are the real subjects; like any great filmmaker he begins and ends with image and sound. Note the bland, cheerful music that pops up at the darnedest places. The relationship that develops between Nimura and Shin'ichirô, Mamoru's father after Mamoru is no more, and the scenes of Shin'ichirô's cluttered yet desolate workshop/dwelling recall Akira Kurosawa's Dodeskaden but also Italian neorealism and the clan of directionless but uniformed young bad boys who wander through the street in the long final tracking shot evokes Antonioni and the mute clowns in Blow-Up. Kiyoshi Kurosawa's framing, his use of empty urban long shots, is akin to the vision of Antonioni. If it's true that this cool stuff is all too appealing to film school dropouts ready to concoct a deep interpretation of every aimless sequence, it's also true that Kurosawa like no other living director creates his own haunting and disturbing moods, and it would be fun to compare this movie with Bong Joon-ho's boisterous "The Host."

Really an 8.5 at least, for originality.

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