7.3/10
1,255
11 user 8 critic

Kamome shokudô (2006)

Where are we welcome? On a quiet street in Helsinki, Sachie has opened a diner featuring rice balls. For a month she has no customers. Then, in short order, she has her first customer, ... See full summary »

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(novel), (screenplay)
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1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Satomi Kobayashi ...
Sachie
Hairi Katagiri ...
Midori
Masako Motai ...
Jarkko Niemi ...
Tommi Hiltunen
Tarja Markus ...
Liisa
...
Matti
Anita Linnasola
Eine Räihä ...
(as Eine Raiha)
Marjatta Salin
Pentti Heinonen
Pertti Roisko
Irja Punnonen
Pekka Punnonen
Jussi Vehviläinen ...
(as Jussi Vehvilainen)
Milja Huimala
Edit

Storyline

Where are we welcome? On a quiet street in Helsinki, Sachie has opened a diner featuring rice balls. For a month she has no customers. Then, in short order, she has her first customer, meets Midori, a gangly Japanese tourist, and invites her to stay with her, and meets Masako, a formal and ethereal middle-aged woman whose luggage has gone missing. The three women work in the diner, interact, and serve customers. A somewhat brusque man teaches Sachie to make delicious coffee, then he returns under other circumstances. Three neighborhood women inspect the empty diner every day; will anything bring them inside? We learn why Sachie serves rice balls; but why Finland? Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Plot Keywords:

diner | f rated | based on novel | See All (3) »

Genres:

Comedy | Drama

Certificate:

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Details

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Language:

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Release Date:

29 September 2006 (Finland)  »

Also Known As:

Kamome Diner  »

Filming Locations:

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Company Credits

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Technical Specs

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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User Reviews

terrible!
9 January 2011 | by (Japan) – See all my reviews

I have to agree with Shusei: This director isn't very concerned with cinema. The film doesn't speak to Japan's great cinematic history in any way. But the director is obviously very satisfied with herself. This film is emblematic of Japan's contemporary fetishism and myopia. It displays, unknowingly, a lot of the problems plaguing artistic and media discourses in Japan. There is a general sense of shallowness and lack of awareness that one notices if one is able to sit through this tripe. You get the Japanese constant and bizarre fascination with food, the lack of irony, the fetishization of and yet total disdain for and other-ing of all things "not Japanese," plus, you will observe the ghettoization and, again, fetishizing of a gender-group. This is very much a movie that is unselfconsciously and unwittingly by and for Japanese unmarried desexualized middle- aged "ladies" - a demographic distinction that is a kind of stigma created by the dysfunctions and pathologies of modern Japanese society. The film imagines that these Japanese "ladies" can escape their marginalization and branding in Japanese society while existing in a safe magical "foreign" world that is, obviously, anything but what life would be like if one moved and started a business in a foreign country. In this sense, the movie is both a product of and for masochistic Japanese propaganda.


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