7.4/10
529
6 user 9 critic

Yume no ginga (1997)

Bus conductor Tomiko falls in love with driver Niitaka, even though she also suspects him of being a serial killer who killed his female conductors after tiring of them.

Director:

Gakuryû Ishii (as Sogo Ishii)

Writers:

Gakuryû Ishii (as Sogo Ishii), Kyuusaku Yumeno (novel)
Reviews
2 wins & 2 nominations. See more awards »

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Cast

Credited cast:
Rena Komine Rena Komine ... Tomiko Tomonari
Tadanobu Asano ... Tatsuo Niitaka
Kotomi Kyôno Kotomi Kyôno ... Chieko Yamashita
Tomoka Kurotani Tomoka Kurotani ... Tsuyako Tukikawa
Kirina Mano Kirina Mano ... Aiko
Reiko Matsuo Reiko Matsuo ... Mineko Matsuura
Kyûsaku Shimada ... Kuro-Tonbi no kyaku
Takeshi Ikeda Takeshi Ikeda ... Tsuwaomote
Chikako Hon'ami Chikako Hon'ami ... Tsuyako's mother
Rest of cast listed alphabetically:
Wui-Sin Chong Wui-Sin Chong
Edit

Storyline

Tomiko is a conductor in a rural bus driven by the handsome Niitaka. Tomiko had received a letter from her best friend Tsuyako, a conductor in another bus company, just after Tsuyako was killed in a bus accident. Tsuyako wrote that she felt that her fiance and driver, Niitaka, planned to kill her. Tomiko therefore plans to take revenge on Niitaka. However Tomiko falls in love with Niitaka, even though she also suspects him of being the Tokyo bus driver serial killer, who killed his female conductors after tiring of them. Written by Will Gilbert

Plot Summary | Add Synopsis


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Details

Country:

Japan

Language:

Japanese

Release Date:

15 February 1997 (Japan) See more »

Also Known As:

Labyrinth of Dreams See more »

Company Credits

Production Co:

KSS See more »
Show more on IMDbPro »

Technical Specs

Runtime:

See full technical specs »

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User Reviews

 
visually stunning but lacking in depth
29 June 2006 | by CountZero313See all my reviews

This is a film that is gorgeous to look at and will keep you watching till the end. But it is ultimately style over content; the cinematography is everything, as well as the staging to showcase the performances by the principles. The gaping hole in this film is characterisation. Neither of the principals seem to possess a life before or after the events we see on screen. Their bouts of staring at each other become faintly ridiculous after a while, even by Japanese standards. The film exhibits symptoms of the malaise afflicting J-cinema as a whole - great directing, sublime photography, and a script that seems to have been written on the train on the way to the studio.


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