Spinal Meningitis And Inability To Walk

sky of love (Koizora - Il Cielo Dell'Amore)

Avevo sentito già diverse volte parlare di questo film, l'avevo disponibile in videoteca ma mai avevo concretizzato la sua visione, forse perchè durante l'esame di uno spezzone per il test dei sottotitoli avevo visto un tipo orrendo dai capelli talmente biondi che sin dall'inizio ho sentito antipatia nei suoi confronti... e non mi sbagliavo.

Siamo dentro ad uno di quei treni locali che attraversano la campagna Giapponese. Mika, seduta vicino al finestrino, crea degli origami and think of a man, a man who has changed her life forever. Mika looks tired, as if returning from a war, and in fact has been through a lot, too.

Dodge back seven years: Mika is the first year of high school, it's been three months into the school. Mika is in the bathroom with her short skirt, you put a gloss on the lips is not still in love, and do not really know where to start. Then one day his eyes met with that of a boy, a kind of pixie-blond leading the Japanese currency as a thug and is going steady with another type of full pearcing named Nozomu, which seems too a hoodlum. What seems to end there. Mika loses his cell phone in the library, this is found by a stranger who puts it in one of the shelves, making sure to delete all contacts of the girl and take her number. Begins a kind of stalking, he said his name was "secret," and Mika begins a long distance relationship that takes more and more, until they meet. Mika When you realize you have in front of the blond, run scared, he insists until you come along and explodes the ammmore.

I just can not go forward, not to be spoilers, but from here on will really Mika many joys, along with many troubles, say more trouble that joy.

Now: the film is based on ケータイ 小説 (keitai Shosetsu - novel by phone) entitled 恋 空 ~ 切 ナイ 恋 物語 ( Koizora: Setsunai Koi Monogatari - The Sky Of Love : The History of Sorrowful) is a kind of autobiographical novel written by a certain 美嘉 ( Mika), a very unlucky girl really have happened if all the things you see in the movie because she states that the story is totally invented. The series of novels has reached 25 million electronic readers, and this was taken in 2007 this film, and in 2008 a drama in six episodes. The film adaptation is in all respects a 纯爱 ( Jun-ai - true love) and respects the canons: sad love story, death or disease in various rivers and tears.

I must say that I like 纯爱 ( Jun-ai - true love), but I do the "Vincenzo Mollica the contrary" of the situation, saying from the beginning that this movie is not nice . And I explain why in the following points:

1) Too much crippled, as they say old essays, and here this saying has never been so appropriate: the girl goes way too much trouble, so many that the story borders on the ridiculous. A story with so much trouble should turn in a completely different way, perhaps using the real drama and the drama school youth, and not in Japan because such problems do not exist, but because in my opinion is not cinematically believable.

2) The honey-like expressions of poetry recited by actors awkwardly kids who play "adult" kids and saturated with color photography, installation almost drama (see also paragraph "6" in this regard ), the voice-overs and other things come up against the power of extreme gravity and painful topics.

3) I love 新 垣 结 衣 ( Aragaki Yui ), since the drama マイ ★ ボス マイ ★ ヒーロー (My Boss My Hero), which is beautiful co-star, but after seeing her I think this film is not exactly the height of film interpretation, and it would be really better that focuses on the drama: of course after seeing a Jun-Ai with controcoglioni entitled ただ, 君 を 愛し てる ( Tada, Kimi Wo Ai Shiteru - Simply, I Love You ), with a "real actress" named 宮崎 あおい ( Miyazaki Aoi), watching Koizora grow exponentially boredom and discontent.

4) will be that after years of Japanese film I've seen a lot of stories, but this film is obvious from the beginning, I had already guessed the ending before the end of first half: no there are concrete ideas in this adaptation.

5) If there is one thing that I understand Japanese film and the bottom appreciated so far, is that the sexual act in all its forms, from the kiss, the caress pushed to the full report, or omitted facts are absolutely always imagine the viewer, but here you go sull'esplicito, explicit unpleasant materialized both in the images in the stories of the voiceover: I've always loved the Jan-Ai is the purity of the sensory loving relationship, distilling the essence of which only feeling this Japanese film in my personal experience has been able to express . We are light years from the poetry of dell'Iwai Love Letter, and the raw visual power of the Yukisada Sekachu: Norihiro Koizumi even a 26-year-old has done better in 2006 with the best Debut Tayou no Uta .

6) The stranger Natsuki Imai, director of this film, has done more to life than drama, and his inexperience in the whole film feels like a film shot this micro-drama.

7) Never as in this case, the theme of death is exploited and abused in order to resolve the plot.

8) Jun-often in the comic and there is a small component sdrammatizzante, but here, nada.

There are some positive points, such as certain bars, but everything else is like flatness and especially women (ask Shiho that has not stopped crying).

恋 空 (Koizora - The Sky Of Love)

Japan, 2007 - Directed by Natsuki Imai

Spinal Meningitis And Inablity To Walk

Departures (Departures)

Masterpiece winner of the Far East 2009 (both the Audience Award and with the Black Dragon Award), 2009 Oscar Award in the category "Best Foreign Film", dozens of awards in film festivals around the world, especially in Japan, almost always in the categories "Best Film", a successful stratospheric box office in the mother country, which is incredible for a film with an original screenplay (though freely based on the autobiography of Shinmon Aoki, 纳 棺 夫 日记 ( Nōkanfu Nikki ) English title " Coffinman: The Journal of a Buddhist Mortician ") is not taken from television series or manga, and not a common subject, that of death and management of a dead body, physiologically fled and feared by the "live ". Significant corollary of this is the ultimate taboo of the confidentiality of the Japanese funeral ceremony, reserved exclusively for family narrow and therefore difficult to express cinematically without arousing mixed feelings in the Japanese public.

Departures, a term coming directly from the English translation of a funny scene from the film, is not an exact translation of the Japanese title that is おくり びと ( Okuribito ): This word comes from the verb 見送る ( Miokuru ) which expresses the action of the healthy from the ground a deceased person who is already in heaven while we contemplate with the eyes. It just takes the part of the "healthy " 送る ( Okuru ) and joins the ideogram 人 ( Hito ), which together with the previously mentioned verb ingorizza is becoming "the framework ": " Okuribito " is the person who welcomes the dead to heaven, meaning more metaphorical than physical.

We are in the hard winter 酒 田 ( Sakata), Yamagata Prefecture. A young 纳 棺 师 ( nokanshi ) performing the ritual of the recomposition of the body of a beautiful young woman before her deposition in the coffin. His old mentor, welcomed the following to practice the graceful movements of an ancient and fascinating, brilliant of piety, composed of dignity, full of love that the living can no longer give to the dead, delegating so unique and special person.

Prior to conducting this work, Daigo was a cellist in an orchestra in Tokyo, unfortunately after the dissolution thereof, the young man is out of work and decide to move to his home town of Sakata. Here, in a newspaper ad reads an ad: "Wanted staff, even without experience, specialized agency in departures. Convinced it is a travel agency, Daigo makes contact with the elderly owner, who hired him without even reading the resume. Soon the boy realizes that this is an agency of the funeral, a 葬 仪 屋 ( Sōgiya ): his initial offers to hide him away from hateful gossip but, given the small size of the city were not slow in coming, even undermining the solidity of his marriage. Here begins a new path for Daigo, sometimes painful, to find inner peace and serenity and the respect of others.

Beautiful, sensitive, poignant and seemingly perfect a film in which festival-goers have given a nice 5 / 5 (the vote was 4 / 5 but in my own yardstick to FEFF Japanese movies are always a plus point) . Indeed, not a fan of Asian cinema can truly appreciate this film the classic Japanese film slow lamented by those who you approach for the first time is less heavy usual, the theme is extremely interesting for its rarity and also applies the vision of two hours and ten minutes into the film: there is a better overall balance of the collection. A film esportabilissimo, a successful challenge once again from far-sighted and reckless executive producer 间 瀬 泰 宏 ( Mase Yasuhiro ). It 'important to note that Departures had its most important victory in the motherland, in Japan, where a huge public success has marked the fall of a great taboo, cleared through customs cinematic figure of 纳 棺 师 ( nokanshi ) and the practice of funeral , things that in years of Japanese cinema had never seen personally. None it would have bet on this film and the film is about just this problem: the marginalization of Daigo because of his work comes from a feeling shared by many people around the world. We all fear of the gravediggers, anyone at least once in their life tried to imagine how it would work from gravedigger, and even touch the dead : not in this case the "fear of difference" to frighten people, but the most natural fear of death, to escape what they feared even more as an idea. From here you can instead create the groundwork for an interesting movie, because in addition to showing things that no one has ever seen (the practice of the composition of the corpse in front of relatives, at least in Europe I think it is so widespread ...), allows you to show a reassuring daily in a work so special, and it is then possible to put the viewer at ease with the inclusion of macabre fun situations: an expedient, to play with death without ever falling into bad taste, absolutely brilliant.

good interpretation 本 木 雅 弘 (Masahiro Motoki ) as Daigo, and an equally valid test 広 末 凉子 (Ryoko Hirosue ), the unforgettable little face of the daughter of Jean Reno in Wasabi, who plays his wife, the presence of pleasant 山崎 努 ( Tsutomu Yamazaki ) a great film career behind and many role-thick (I do not forget that in Sekachu Sakutaro's grandfather), who plays the elderly owner of the agency.

Well, I am happy for this Oscar winner, absolutely not undeserved, and that gives luster to the Japanese cinema, after the one won in 2001 by Hayao Miyazaki with 千 と 千尋 の 神隠し (Sen To Chihiro No Kamikakushi - Spirited Away). But who knows in Japanese cinema and made the call at the Japanese contemporary drama, can not help but note that this is a film built on purpose to rip tears, with a sound not bad nè sgradevole ma ripetitivo che se vogliamo enfatizza ancora di più le scene commoventi e tristi. Forse scontato come struttura, utilizza la morte per i suoi fini di genere, come tutti gli esponenti del genere 純愛( Jun-ai – vero amore), ma senza utilizzare il topic dell'amore. Grazie a questo film le autorità di Sakata dovrebbero ergere un monumento in onore della produzione, visto che l'affluenza turistica nella cittadina è spaventosamente esplosa fino a mettere in ginocchio le sue capacità ricettive, un pò come accadde per Aji, nell'isola di Shikoku, location di Sekachu, che ancora oggi vive di turismo cinematografico (io ho contribuito ad esso nell'estate del 2008).

Unico of its kind and unique, like that which shows an absolute must even also in terms of knowledge of Japanese culture, well done and never boring, delicate but ironically, a perfect balance created and perfected by the great director 滝 田 洋 二郎 ( Takita Yojiro ), balance, without which, Mase's words, would it really all to pieces.

A souvenir photo with the FEFF11 间 瀬 泰 宏 ( Mase Yasuhiro ), producer of this film, the thriller as a hospital Nakamura.

おくり びと ( Okuribito - Departures)

Japan, 2008 - directed by 滝 田 洋 二郎 ( Takita Yojiro )

Diego Maradona Hepatitis

K-20 Phantom Transfer twelve looks (La leggenda dell'uomo misterioso dalle venti facce)

We are in Japan "post-no-war", that is in 1949 but that there was no World War II: the Empire has never made the choices that brought the wicked country to the ruin of the Rising Sun (attack on Pearl Harbor, entrance into the war with the Axis powers etc.) , and the country lives in an antebellum-style futurism unreal, strange flying machines, a Blade Runner-iron, steel and steam, a bizarre technological progress but did not touch the company, lost as if it were frozen in eternal seeming Middle Ages from which, for better or for worse, Japan came only after the end of the war, after the nuclear destruction and the American occupation means a company sectorally divided into an opulent aristocracy dominating a poor class poor.

We are in the imaginary capital Teito. During the presentation of an extraordinary invention by the legendary Dr. Tesla, a mysterious individual takes possession of the machine and cause a massacre: the notorious criminal Mescher called "Twenty Faces". The detective Kogoro Akechi, accompanied by his assistant disturbing child, continues the investigation to catch the villain. Down in the gutter while the fearless acrobat Heikichi Endo, after finishing his performance in a show veien approached by a strange man who pays him to complete a dangerous job, which must be completed at the reception for the Annunciation Kogoro detective with the wedding of his noble girlfriend, Yoko Hashiba: Things are bad and the unfortunate Heikichi is hopelessly mistaken for the criminal "Twenty Faces" and hunted. The boy will have to face an entire city so that it pursues, the wily detective Kogoro, a dangerous criminal, and save the world ... Well not to be spoler, but in short films super-heroes in the end they are all so ...

I was extremely interested in this movie: I love movies of Japanese super-heroes, but those who do not take themselves seriously, as the beautiful Zebra-man Miike, for one thing: here we are a marvel-Japanese film, and especially compared to what you do not want to be an innovative film but a film that follows a trend already established and that more senior figures, could be down to his total. I must say that I had changed his mind, even if partially. Adapted from the work of 北 村 想 ( Kitamura I know), the film is crisp and agile, as the ability director of its writer, 佐藤 嗣 麻子 ( Sato Shimako ). To attract the masses, especially of girls and women, there is the Japan-Taiwanese star 金城武 (Takeshi Kaneshiro ), great acting talent. The female lead is played by 松 たか子 (Takako Matsu ) for me the same as the star of the recent thriller hospital Nakamura, Yuko Takeuchi.

The film amuses and intrigues, the plot is compelling and there are plot twists, action scenes are exciting, but the special effects of Japanese cinema, I may say so, are not yet up to the standard American and New Zealand. There is always the sword of Damocles of the comparison with Filmon targati Marvel, but I do not think you can just ask for more for this genre, from Japanese cinema.

K-20 怪人 二十 面相 伝 (K-20 Ni-Ju Kaijin Mensa Den - The legend of the mysterious man from twenty-sided)

Japan, 2008 - directed by 佐藤 嗣 麻子 ( Sato Shimako )

Inspirational Words For Stroke Victums

triumph of General Rouge (Il Trionfo del Generale Rosso)

After チーム バチスタ の 栄光 ( Chiimu Bachisia No Eiko - The Glory of Team Batista ) and フィッシュストーリー ( Fisshu Sutoorii - Fish Story ) meeting for the third time Yoshihiro Nakamura the Far East, and here even after the painful disappointment of Fish Story there was no doubt on the absolute quality of the product: as anticipation, a kind of soft thriller Investigation into hospital sauce (precisely the result of the pleasant " Glory of Team Batista ).

You return to 东城 大学 医学 部 付 属 病院 ( Tojo Daigaku Igakubu Fuzoku Byōin - University Hospital Tojo), the same fictional hospital on the outskirts of Tokyo: the shy but enterprising Dr. Kimiko Taguchi, a psychologist and brilliant improvisation investigator at the time of the events of the prequel, has been appointed head of the hospital's ethics committee, a task not easy for a quiet soul like her. Life in the hospital proceeds peacefully until the Taguchi receives an anonymous letter that provides knowledge of alleged shady deals in the area of \u200b\u200bsupplies made by Dr. Koichi Hayami, called the "Red General", the powerful head of emergency, with the complicity 'of his head nurse, Ms. Miwa Hanabusa. What's more, a helicopter lands sull'eliporto hospital ambulance carrying a patient special Keisuke Shiratori, big shot of the Ministry of Health and Taguchi's old friend (he had participated in the crimes of the team Batista). The sudden arrival of Mr. Shiratori causes hives to Taguchi, who knows that a simple broken leg does not justify the transfer of the bureaucrat in the same helicopter that big trouble is on the way: in fact, Shiratori also received an anonymous letter with the same content, and most importantly the equipment supplier of General Rosso died (suicide?) falling from the heliport, located on the roof of 'hospital. The Taguchi finds himself catapulted into a new crisis, an obligation to investigate also saw his role as head of the ethics committee, and again with the unbearable but nice Shiratori at his heels.

A year after watching チーム バチスタ の 栄光 ( Chiimu Bachisia No Eiko - The glory of Team Batista ), come gia' detto sempre di Nakamura , mi tuffo di nuovo nell'atmosfera familiare dell'ospedale Tojo. E' un piacere incontrare di nuovo la gradevolissima figura della dottoressa Taguchi, un personaggio dotato di una grande sensibilita' ed umilta' e che non si fa fatica ad amare a prima vista e interpretato da una sempre brava 竹内結子( Takeuchi Yūko ). Non si poteva fare un seguito del blockbuster datato 2008 senza riproporre il mitico 阿部寛( Abe Hiroshi ), anche questa volta colonna portante della pellicola e protagonista di scene incredibili (la scena del reparto di pediatria coi bambini che lo sfottono è già da leggenda). Anche qui pochi difetti, forse nessuno, e se vogliamo una migliore gestione generale delle risorse: tralasciando la storia, comunque non originale ed adattata sempre dai lavori di 海堂尊( Kaido Takeru ), la sensazione generale è che il sequel sia migliore del prequel. Una regia più audace in certe inquadrature, addirittura effetti speciali in post-produzione per una scena particolarmente estrema, e comunque un meccanismo di personaggi prefettamente collaudato ed oliato.

Dopo la visione, vista la delusione di フィッシュストーリー ( Fisshu Sutoorii - Fish Story ) ho pensato che Nakamura sia di sicuro un ottimo regista e sceneggiatore, ma che vada assolutamente controllato da qualcuno (in questo caso e in quello del prequel la TBS ha fatto il suo).

Due ore di divertimento senza pensieri. Consiglio questi due film e qualsiasi altro sequel dovesse essere prodotto.

ジェネラル・ルージュの凱旋 ( Jeneraru Ruuju No Gaisen - The Triumph of General Rosso)

Japan, 2009 - directed by Yoshihiro Nakamura

How To Change License From Nj To Ny

Glory of Team Batista (La gloria del Team Batista)

The Japanese film as "great" Far East 2008. Great in terms of audience: according to the president of TBS (Tokyo Broadcasting System ), present in the room, a public success unprecedented in terms of big budget production made for a blockbuster win, a money machine practically perfect, great in terms of entertainment, why is this movie entertaining great.

We enormous 东城 大学 医学 部 付 属 病院 ( Daigaku Igakubu Fuzoku Byōin Tojo - Tojo University Hospital), a fictional hospital in the outskirts of Tokyo. Here by a famous cardio-surgical team applied an innovative and apparently successful method in open-heart surgery. The team, after the incredible success in resolving cases of desperate people who have brought prestige to the entire healthcare facility, begins to lose patients to death in the operating room. Dr. Kimiko Taguchi, passionate softball player as well as quiet harmless and psychologist, is responsible for querying various team members, to try to understand the causes of this alarming and unexplained series of deaths. His investigation ends with an innocent verdict of acquittal in respect of the team, seemingly powerless against those who are established as accidental deaths. Meanwhile, the Ministry comes Keisuke Shiratori, an investigator appointed to investigate the affair. Shiratori will stir throughout the hospital with his impulsiveness that will not just an awkward one to shy Taguchi, but that will bring a new light on the events.

As I said before チーム バチスタ の 栄光 ( Chiimu Bachisia No Eiko - The Glory of Team Batista) is a film that simply does his duty: to entertain and make money: it is proven that a car with no Japanese blood of yellow and without violence. Adapted from the novel by 海 堂 尊 ( Takeru Kaido ), is at the end a very long episode of "Murder, She Wrote , where my grandmother second Angela Lansbury solving crimes all over the place (I've always been convinced that bring bad luck wherever he went because we escaped the dead), but the caliber of actors, production billionaire and a modern and intriguing story make this film a great movie with yellow edges of comedy. I personaggi, pur di contorno, sono ottimamente definiti e ognuno di loro ha un suo misterioso carisma: 竹内結子( Takeuchi Yūko ), che interpreta la dottoressa Taguchi è incredibilmente dolce nella sua sincera goffaggine; 阿部寛( Abe Hiroshi ), che interpreta il politico Shiratori non ha certo bisogno di presentazioni, e qui sfoggia una faccia da schiaffi da primato e riesce a dare al suo personaggio una potenza carismatica non indifferente: penso che questo film non sarebbe nulla senza di lui. E a quanto pare anche la sanità Giapponese ha le sue magagne, e forse anche a questo scottante tema si deve la grande affluenza di pubblico.

Divertente, intrigante, passa via in un lampo.

チーム・バチスタの栄光( Chiimu Bachisuta No Eiko - La gloria del Team Batista)

Giappone, 2008 - Regia di Yoshihiro Nakamura

How Can I Stop My Friends Seeing My Friends

drop (Drop)

Hiroshi, un tranquillo studente di un liceo privato giapponese, nel pieno dell'enfasi generata dalla sua passione per i manga, decide di emulare its heroes moving paper in a public school dominated by gangs in order to affiliate with one of them. His new hairstyle makes him not quite conventional now dominant target of the school band, leading immediately to a confrontation with the head of the same, Tatsuya. Hiroshi is not 'some good with his fists, in fact does just punishment, and the meeting turns into a massacre.

Perseverance of the bizarre but newcomer 'hits the bully Tatsuya, who at the end of the meeting invited him to eat a bowl of Ramen. The rest of the band remained on the sidelines during the fight, joined in the feast: human Mörike are the hammer, the baby-ciccio Wanko and Playboy " Lupin", which also provvede al pagamento del pasto grazie ai proventi delle sue ruberie. tra Hiroshi e la banda, e soprattutto con Tetsuya nasce una profonda amicizia che li leghera' e li portera ad affrontare, uniti, tutti i "nemici" che sbarreranno loro la strada, in quello che soprattutto per Hiroshi sara' un duro percorso di crescita.

Il film è tratto dal fumetto disegnato da 鈴木ダイ( Suzuki Dai ), scritto dal regista 品川祐( Shinagawa Hiroshi ) ed ispirato fedelmente al romanzo autobiografico dello stesso Shinagawa (tutte le opere hano lo stesso titolo, ドロップ ( Doroppu - Drop)). Shinagawa Hiroshi, son of a wealthy businessman and fan of manga-based stories of thugs, he moved to a public school in order to live like his heroes: Hiroshi is his namesake and somewhat fanciful alter ego.

those who come to Japan for the first time through this kind of entertainment products, talk about manga, anime and movies based on stories of bullying, could easily get the wrong idea about Japanese youth. For several months I am working on a study on bullying in Japan still do not have the final results but I can say that the space reserved for the media activities at this sad social phenomenon and 'oversized compared to the full extent of it, which really does not differ as features of reality to us more' family members, such as the Italian one: a brief consultation with my girlfriend, Shiho , allowed me to understand that even with regard to bullying, we are still sull'esagerazione. This does not mean that the thugs do not exist, but their scope of action especially at school level is extremely limited, both for the harsh repression of the leaders, either because a school is not just Japanese space nor time to waste society, which are promptly removed from these environments. I reietti sono soliti affiliarsi poi alle bande di motociclisti o di 右翼団体( Uyoku Dantai - Gruppi di estrema destra). Penso che il signor Shinagawa sia rimasto deluso dalla realtà scoperta nella scuola pubblica in cui si era trasferito per fare a botte e vivere come i suoi beniamini.

Ma prendendo il genere nippo-teppista come puro entertainment, ci si può divertire davvero tanto, e le spettatrici possono trovare una vasta varietà di idol di cui immamorarsi. Non è certo un lavoro facile poi quello dell'idol Giapponese: non si tratta di recitare un po' alla rinfusa senza avere idea di cosa sia la recitazione stessa (vedi i nostrani Scamarcio & co.), the majority of Japanese attoruccioli the big states (not counting when they do the nasty fake laugh), and is a full-time job because in most cases must also sing and dance to the tail markings, as does成 宫 寛 贵 ( Narimiya "face slap" Hiroki ), the interpreter of the character of Hiroshi, perfect in his role and really good (but delayed in " tears"). Even the interpreter of the character of Tetsuya, 水嶋 ヒロ ( Hiro Mizushima), born 斉 藤 智 裕 ( Tomohiro Saito), is one of the most 'famous US-Japan Bellucci the moment.

My impression after screening was that of a poor balance between the important moments of the film, ie the part " hooliganism" and "human " definitely separated temporally in ' period of two hours of film and perhaps too little fused together: I think it is easy to condense into two hours of a manga film, whereas the film version of this story is very realistic (even end up in some scenes with fading original art from the manga by Suzuki). A film still fun, playful and innocent even in its own violence, and always pleasant for a relaxing non-lethal of all the fighting (in this respect, despite the abundance of blood and bandages, recalls the atmosphere of a little film with Bud Spencer and Terence Hill), and capable of daring leaps and absolutely credible deep moral in my opinion worthy of an evening screenings in the Far East Festival, and instead relegated to the morning. Would be worth it just for the cameo of 哀 川 翔 ( Aikawa Shō ) and 远藤 宪 一 ( Endo Kenichi ), the first he plays a cop and the second a former yakuza, two great actors (fantastic skirmish between the two shots bakayaro ).

drop ( Doroppu - Drop)

Giappone, 2008 - regia di Yuji Shinagawa ( Shinagawa Hiroshi )

Top 10 Useless Inventions

Instant Swamp (La palude istantanea)

Annunci pomposi in scaletta al Far East 11: "in anteprima mondiale in proiezione l'ultimo film di Miki Satoshi ( Miki Satoshi ), Instant Swamp ( Insutanto numa - La Palude Istantanea)". Cosa si prova ad essere one of the first people in the world to see a movie?

Hanami Jinchoge works in a magazine on the brink of financial failure: after losing her job and her man, resigned to live a solitary life, and try to open a small business 'commercial. One day, while it 'bizarre visit to the bedside of her mother nearly drowned while he was looking for a water sprite, is a letter written by a man who bears his own name: that hanami has found his real father? Mr. Noburo Jinchoge and 'a weird hippie who runs a junk shop. From here the plot literally mad, I can not say more ...

Dopo aver visto quattro dei suoi sei lavori, ho imparato ad amare, ma anche a temere questo folle regista Giapponese: un inizio sfolgorante e promettente con IN THE POOL ( In Za Puuru - Nella Piscina), del 2005, poi l'ottima prova del piacevolissimo turtles swim surprisingly fast ( Kame wa igai to hayaku oyogu - Le tartarughe nuotano più velocemente di quanto si pensi ): non ho visto bad engine ( Damejin ) del 2006, ma con to the book, not on insects ( Zukan ni nottenai mushi - Deathfix: Die And Let Live) del 2007 c'è stata una caduta terrificante di stile ed inventiva, era una poltiglia appicicaticcia ed informe, come il leggendario vomito-okonomiyaki sul cofano della decappotabile rossa (e buona pace della brava Rinko Kikuchi che appariva come attrice co-protagonista); il 2007 ha visto anche l'uscita di quello che forse è da considerare il capolavoro di Miki Satoshi, e forse uno sei più bei film Giapponesi degli ultimi anni, un gioiellino che s'intitola 転々( Ten-ten - Adrift In Tokyo). Poi buio totale sino ad oggi, ed ecco un'altra ciofeca.

It 'possible that I just do not understand some comedy, maybe I am of another planet, but the vision of this movie was awesome, it was difficult to sit in the room and I happened very few times if we consider the idiot who was sitting behind me and saying "LOL" voice of a fool in every scene funny, the picture was complete. How does it feel then to be one of the first people on earth to see a movie? If the movie is this, stay home!

to forget, pending prossimo capolavoro, che dovrebbe arrivare, tenendo conto della bizzarra ciclicità del nostro amico pazzerello ...

インスタント沼 ( Insutanto numa - La Palude Istantanea)

Giappone, 2009 - regia di 三木聡( Miki Satoshi )