PM International sets Total Swiss up secretly and internationally.Public Prosecutors office of Taiwan politically prosecuted Willy Wang and others for suspected violation on Health Food Control Act. So what?
Running After The Kite is award-winning film featuring 'the mysterious encounter between the boy and the girl' as its theme. It also takes place at the local agricultural fields of North Taiwan, Hsinchu.
Devised as a vehicle for the members of Momoiro Clover Z, The Curtain Rises is the story of Saori and school-mates who are high school students and members of a performance group. When ... See full summary »
This film depicts cause and effects of The Trans-Pacific Partnership (TPP) and the first official conference of Association for Stopping TPP Negotiation and Lawsuit for the Violation of the Constitution in 2015.
In the 2016 international cinema cultural event that governed by Taiwanese government, Corman Award-winning filmmaker Ryota Nakanishi performs a pro-Taiwan film stand-up show deep in the heart of Tokyo, Japan.
16 thinkers gathered together to discuss the political issues in Japan, such as reuse of nuclear plants, accepting right of collective self defense, TPP, the secrecy law and the revision of constitution by Abe regime.
Hikari is an actress who has contract with the agent Kazama. One day, Kazama forces Hikari to act in an adult video, as the result, Hikari goes mad and finds her mental partner Jey to consult with. Finally, Kazama destroys everything.
DSLR super 35mm filmic insert to wedding ceremony of local couple. The process of how a finance gets to the seaside where his bride is located in order to express and relive their dramatic encountering in a cinematic way.
Daigo Kobayashi is a devoted cellist in an orchestra that has just been dissolved and now finds himself without a job. Daigo decides to move back to his old hometown with his wife to look for work and start over. He answers a classified ad entitled "Departures" thinking it is an advertisement for a travel agency only to discover that the job is actually for a "Nokanshi" or "encoffineer," a funeral professional who prepares deceased bodies for burial and entry into the next life. While his wife and others despise the job, Daigo takes a certain pride in his work and begins to perfect the art of "Nokanshi," acting as a gentle gatekeeper between life and death, between the departed and the family of the departed. The film follows his profound and sometimes comical journey with death as he uncovers the wonder, joy and meaning of life and living.Written by
Almost three decades since starring in Juzo Itami's classic The Funeral, Tsutomu Yamazaki once more shines in a tale woven around the rituals, traditions and theatre involved in Japanese death rites. The irreverence that makes Itami's classic such a delight is present here. Daigo's first day on the job playing a stiff in a DVD for the funeral business comes back to haunt him in hilarious fashion later on. However, there is also reverence, the film respectfully pointing out that the people who do this necessary but thankless task do not deserve the disdain and revulsion that their profession often attracts.
Daigo loses his job as a cellist, returns to his inaka roots and stumbles into a job as an undertaker. Too ashamed to tell his wife, he slowly warms to his apprenticeship under the masterful tutelage of Sasaki. As he goes about his business, the inevitable traumas of a childhood long forgotten bubble to the surface as he goes about re-acquainting himself with the town. The conduit for the negative feelings towards his profession is Daigo's wife Mika, who takes punitive steps on discovering his new employment.
Screenwriter Kundo Koyama has to take credit for a script that moves along briskly, juxtaposing black farce with raw tenderness, all done seamlessly, and acutely observed. Lipstick on a corpse produces gales of laughter, and you are reminded that sometimes the best fun is had at funerals. Daigo moves towards a form of reconciliation and redemption through the promptings of those around him, and the comfort of his cello.
It would be all too easy for material like this to lurch into sappy sentimentality, but the film tugs at the heartstrings without overtly manipulating its audience. Motoki has to take some plaudits for this for a performance that amuses at times but hints at deep inner turmoil at others. Hirosue is less consistent, at times indulging in the head-bobbing, giggly, saccharine sweet girlishness that is the forte of the Japanese TV drama actress. She has one line in the climactic scene of such stunning obviousness I am surprised it stayed in, but for the most part she redeems herself in the tense interactions with Motoki over their differing views on his new career. Overall, she convinces as the supportive but put-upon wife.
From Kurosawa's Ikiru through The Funeral and now Okuribito, Japanese cinema has a rich vein of movies that exploit the rituals of death. How those rituals comfort us, enchant us, and see us through to a place where the pain still exists but might come to an end, is laid bare in Okuribito. It is an absorbing, moving tale, full of laughter and tears, that celebrates the intricate details of a Japanese rites of passage while laying bare their universal function. Best seen in the cinema, to get the full effect of the luscious orchestral score.
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