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natural Kokekko (Un "Coccodè" naturale)

From the director of リンダ リンダ リンダ ( Lina Linda Linda ), Nobuhiro Yamashita, here comes on tiptoe another small miracle of contemporary Japanese cinema

Ever dreamed of leaving all your hectic city life, smog, noise, the crowded workplace, the time is never enough? Have you ever dreamed of going to a quiet place to listen in silence on the passing of time, see the grass grow, not to feel anxiety about something behind you chasing?

Japan, island Honshu, Shimane Prefecture. In a small village in the countryside where small rice fields and steep hills full of trees there is a small school. The number of inhabitants of this village is so small that the elementary school and middle school are merged in the same building, and everything in between one and the other there are only six students: the smallest is so small that it is still Piss on you, and the largest is the penultimate year of the medium. The school is in turmoil because it is going to get a new student, he is from Tokyo and moved into the village of his grandfather with his mother. Soyo (played by the young 印 东 夏 帆 ( Indo Kaho ), stage name " Kaho") in particular, the larger the school, can not wait to come to the boy: Hiromi Osawa is in fact one of his same age. The first meeting between Hiromi, Soyo and the village is not the most happy: the boy, accustomed to the bustle of the metropolis Japan struggles to adapt to the new reality in which it was thrown. His six classmates are all set to do so, their joy and abandon are so disarming to challenge even a guy like him underground. Over time, Hiromi learns to appreciate her new life in the village.

A film that has caused me great excitement, I must admit. Maybe it was the time of 茶 の 味 (Cha No Aji - The Taste Of Tea), 2004, Katsuhito Ishii. that I felt a desire to do so intense downshifting. I think this film is a hymn to downshifting for excellence. What

landscapes, those of Shimane prefecture, one of the least populated of Japan's impossible to describe for their beauty all its own: the cliffs yellow grains such as those I had seen at the coast of Shikoku in the Inland Sea, the crystalline sea, lush green and brilliant campaign and the small rail lines with diesel trains that regularly climb on cliffs in narrow tunnels es'infilano between a valley and another. Feels like heaven: big houses, verandas of polished dark wood open summer and the desire to sleep in tatami surrounded by the song of cicadas. The people of the village do not know what the sophistication that ugly town exquisitely made mainly by their wits behavioral self-defense are fairly honest and quiet. Never a problem, never a violent and sad event apart from the suicide of the woman, there on the bridge in the beach road: take the long way to go to sea, which moreover is even more scenic, to forget that too. Do you expect surprises? Heinous murders? Ghosts? None of this, Tennen Kokekko not subject to unpleasant surprises, a medicine for the soul of dreamers like me, who need every now and then to identify himself in a paradise like this and get lost in the soothing oblivion of silence and a quiet place away from everything and everyone. Whatever it takes to eat, you can take to the field, or the maximum you can take a short walk to the store's mom Ibuki, the girl in the sixth grade. The doctor? You have to go to town! The stranger is not Osawa ability of all this, and his amazement mixed with bewilderment are disgusted that the expedient cinemantografico ago from crutches to us viewers dreamers still lame in this new world of fantasy.

No surprise, really, no.

may arise a doubt this is a film filthy liar? If I'm Shion with 紀子 の 食卓 ( Noriko No Shokutaku - Noriko's Dinner Table) teaches us that moving to a heavenly place is not useful to flee their own ghosts, and that they are hidden inside us, Nobuhiro Yamashita (formerly director of Lina Linda Linda ) gives his personal or more optimistic view: the problems are everywhere, even in a heavenly place, and reminds us with the flowers placed in the balustrade of the bridge rusted on the road to the beach, or the attachment of the mother's asthma Osawa, perhaps the most dramatic of the film, but if you have the strength to leave their troubles behind them, if you are able to purify their hearts and live with a strong optimistic attitude, you can find your own personal paradise.

Often the contemporary Japanese cinema paradise built parallel reality where the viewer can rush and dream in these situations can be identified in Love Story, journeys that seem epic adventures although experienced in the backyard, great victories and successes. Often all these beautiful works are scaffolding of lies that cover very different realities: the school really sucks, the job really sucks, it is difficult to succeed in sport, as in the show or the music, much less in love, let alone win fabulous girls, beautiful, kind and thoughtful as enchanted fairies: in reality the beautiful girls are often clever and unscrupulous, with their beauty and popularity. But the scaffolding Yamashita demonstrates strong: it is the isolation of the village to protect him from the ugliness and wickedness of the world, Soyo and his companions are genuinely good and honest, and above all, simple. The boys school trip to Tokyo does nothing but strengthen this general feeling of purity and this atmosphere special: A Shinjuku, afraid of standing out in front of the towers of the municipal government building by Kenzo Tange, Soyo covers his ears, holds her breath and says the skyscrapers, the frenzy, noise, that when he grows up he will learn to deal with them, but now all his love is for the village, its people and its small school. A place so beautiful that the same people already feel nostalgia for it, while living there.

"There is nothing better than our house," says a professor at Soyo afraid to Tokyo.

Tennen Kokekko is a film of love, love of beauty in itself, the beauty of simplicity, the beauty of nature, the beauty of interpersonal relationships, the beauty of love. Tennen Kokekko is a film of love for Love. A film to dream, a movie where even find shelter from the stresses of daily life and the widespread ugliness of our times.

Tennen Kokekko is a stab to the heart, because after having lived his world, any world can seem less beautiful.

天然 コケッコー (Tennen Kokekkō - A Gentle Breeze In The Village)

Japan, 2007 - directed by Nobuhiro Yamashita

Pulmonary Fibrosis And Bronchiectasis

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VENERDI' 4 DICEMBRE ALLE H 21

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A PRESTO!!

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table Noriko (Noriko's Dinner Table)

(In this text, there might be some spoilers) Noriko, a girl of 17 years, feels an alien in his family and his country town. He decides to run away and join in a forum known to her friends, and during a blackout takes a suitcase, throws everything into it in bulk and run to catch the first train to Tokyo. After a while even his younger sister, Yuka, vanish and run away. The father, desperate to leave the job hysterical and started a search of his daughters that will take him on the trail of what he thinks is the infamous theatrical organization called the media "Suicide Club".

After seeing the beautiful 愛 の むきだし ( Ai no mukidashi - Love Exposure) Far East debut at 11, see a movie 园子 温 ( are Shion ) can transform an ordinary evening into an unmissable evening. Noriko's dinner table should be the result of its 自殺 サークル ( Jisatsu saakuru - Suicide Club) 2002, but differs with a script that tells of events temporally almost parallel to those of the first episode, but lived in different places and people, which at times come into contact with the events and characters in the film mentioned above.

do not remember much of Suicide Club, I saw many years ago and I see him to be able to write something, but I think anyone who has seen me as I can not forget his big scene, ie the collective suicide of more than fifty high school students under a train line Chūō in Shinjuku, Tokyo: applicant scene several times in this film.

Una sceneggiatura se pur parallela a quella del "primo episodio", indipendente ed autoconclusiva, sembra quasi che il regista abbia voluto sfruttare il successo di Suicide Club e sfruttarne la preesistente "piattaforma" per parlare di argomenti nuovi. Si può tranquillamente guardare questo film anche senza aver visto il precedente, addirittura lo si potrebbe utilizzare come prequel...

Il tema del suicidio è sempre comunque presente anche in questo film. La visione di Sono Sion sull'argomento é abbastanza critica pur nella sua tragica satiricitá: Noriko pur non avendo alcuna intenzione di suicidarsi finisce col prendere contatti with some of the members of a mysterious girl forum, considered by some coverage of the "suicide club" and socializing with them in a particular nickname Ueno Station 54, real name Kumiko, in turn, founder and head of a strange organization that provides its customers with humans for rent "for all purposes. You can never tell if in fact this organization is the Suicide Club, or its cover, or even if the script will force a review of the viewer that everything that happens in the film has no connection with the Suicide Club offers into question its very existence and degrading to mere obsession of a desperate father who, together with its subsidiaries is lost everything.

But the kids still continue to kill in groups and it seems that behind the scenes there is an accurate direction to move the threads of a macabre sequence of events. Apparently for many of the characters in this film suicide is a wonderful liberation from suffering, but some of them undergoing a different death, though still voluntary, and this is one of the things that left me stone: get killed deliberately by someone who wants to murder to vent anger on an adulterous wife, for example, to set out and interpreted by a person whose fate is to die, to offer a service and make his own death for a few more useful. Idiocy, idiocy result of a great mind of the poor women with no hope.

I believe I am the genius of Zion lies in making a metaphor for the madness of the collective hysteria which Japan is really sick, and carefully dismantle it piece by piece in this same folly with intelligent constructive criticism in key metaphor: after building a scenic picture that shows a definite reality, the organization that hires human beings for any purpose, that the hypothetical Suicide Club, breaks all using one of his cards apparently less influential on character Yuka's sister, Noriko, who with great cunning seeps into the fabric of mystery created by the disappearance of her elder sister and father as opposed to staying "sane" Deus Ex Machina apparatus becomes destructive of the author, ridiculing THAT 'Babel organization now bloody hatred for themselves and for life, gomorra perversions of ancestral cowardly disguise from the public utility service, a mirror of society, the Japanese, the author wishes to denounce as ever now empty of content and especially quell'autocontrollo that has always set, self-control has now become the silent autoviolenza many private individuals and many families.

Kumiko's organization becomes a parody of those thousands of people who help suicides in Japan to successfully achieve their goal: the single-issue forum, an accurate methodology developed by the voluntary death for poor people with perverted minds the only fault to be born in the wrong place, or do not have enough strength to endure the endless pain of living. Yuka is alive and vigilant in its apparent idiocy of girl of fifteen, seems dazed but is already a foot ahead of the sister who does nothing but self-pity to hide behind those thick glasses and unfashionable, behind the excuse that the evil of the whole world is because of his father.

Tetsuzo, he, the great man convinced that it is enough to take refuge with his family in the beautiful coastal town called Toyokawa seemingly perfect (which also is the birthplace of the director) to escape the evil and violence of the outside world, but soon realizes that the evil and the problems are generated mainly from ourselves that most of the time we create our own little personal hell mastery.

In a great metaphor for the film and then Tetsuzo know the hell is alone, he descends into the underworld and face the devil, kills his squires with unprecedented ferocity, and hopefully we can start all over again. But it sinks back to its roots in hell from which it can not be resurrected, and resignation as a shroud also covers all the others, except Yuka, who after his descent into the underworld has made sure both her sister his father in hell less painful for them, tore the roots from your feet and flew away like an angel of life, and his freedom will not let her alone, naked and scared as it was for Noriko, but makes it quite Light finally about to take its first flight.

Zion I has a unique style of shooting, the film is divided into chapters, each monograph of a character, but all time in a smooth chorus. The brilliance of this script, however, reach the perfection of unnecessary delays, if filed, and with some modifications in the final too slow: defects such as his latest work "Love Exposure" is free, even with his crazy period of four hours.

紀子 の 食卓 ( Noriko No Shokutaku - Noriko's Dinner Table)

Japan, 2005 - directed by 园子 温 ( are Shion )

Dental Treatment Plan Said Insurance Would Cover

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