[ Directed by ]
[ Produced by ]
• WATANABE Hirobumi
• WATANABE Yuji
[ Cast ]
• SHIBUKAWA Kiyohiko HIRAYAMA Takashi
• TAKAHASHI Saaya SAEKI Yuka
• IIDA Kaoru TAKITA Shohei
• HIRAYAMA Misao Grandmother
[ Staff ]
• Screenplay: WATANABE Hirobumi
• Music Director: WATANABE Yuji
• Cinematography: Woohyun Bang
• Editor: NAGATOMO Teruhaya
• Sound Recording: NAGATOMO Teruhaya
Release Date: December 13, 2014
Running Time: 88 min
Genre: Comedy, Drama, Science Fiction/Fantasy, Children/Family, Feature
Screening Format: DCP,Blu-ray,DVD
Screening Format with Subtitles
[ Story ]
Debut project from Foolish Piggies Films, the Tochigi Prefecture-based filmmaking collective formed primarily by director/scriptwriter Watanabe Hirobumi and his brother Watanabe Yuji, who handles production. Humorously depicts the encounter between a mysterious girl and a self-centered thirtysomething slacker.
Hirayama Takashi (Shibukawa Kiyohiko) lives with his grandmother (Hirayama Misao) in Otawara City, Tochigi Prefecture. An unemployed slacker with zero interest in changing his dissipated and lazy lifestyle, Takashi spends his days doing next to nothing. One day, a girl shows up who claims to be the daughter of his deceased father.
[ Official Site ]
[ Film Festivals, Awards ]
• 2013 Tokyo International Film Festival, Japanese Cinema splash
• 2014 Raindance Film Festival
• 2014 Helsinki Cine Aasia
• 2014 Nippon Connection Film Festival
• 2014 CAMERA JAPAN
• 2014 Aberdeen Film Festival
Independent production in bianconero and fixed sequence plans (more for budget reasons than for aesthetic will), Soshite dorobune wa yuku is directed by the young Watanabe Hirobumi, born in Tochigi prefecture, the same in which the film was shot and set, and pupil of Tengan Daisuke, son of Imamura Shōhei.
Made with a few friends and the help of some family members, including, as the actress, the director’s ninety year old grandmother. The film features Takashi, a young and idle almost forty-year-old who with a certain and insistent insistence remember, who lives along with his grandmother, unemployment benefits, without caring at all to look for a job. Separated from his wife, who prevents him from seeing his son and to whom he has to pay for food, Takashi spends his days sleeping, playing pachinko or bored with his friend Shōhei, who nevertheless found a job, even if it is shovel shit in a barn, as Takashi himself does with insolence to notice.
The daily routine of the protagonist is not even moved by the arrival of Yuka, a young girl from Tokyo who introduces him and his grandmother claiming to be the daughter of Takashi’s father, who died two years ago. Yuka also does not miss the opportunity to reproach her half-brother for his starvation, repeatedly giving him the “fossil”.
If the style of the film recalls as Watanabe himself admits that of the first Jarmusch, the protagonist physicist apart appears as a reincarnation of the Coen brothers’ Jeffrey Lebowski, as they seem to confirm the frequent bowling scenes. Although the subject of the film also has more than one dramatic element, the tone is that of an acrid comedy entrusted to pungent dialogues and without discounts.
Effective then the running gags to character so to speak social like those built around the young volunteer who shows up in the house of the protagonist vainly trying to sell him the tissues to support the victims of radiation from Fukushima, or those related to the neighbor candidate for elections and desperately seeking votes. Both will end up being beaten by Takashi himself who sees in the two, and in their relationship with society, something absolutely irreconcilable to his philosophy of life.
The last part of the film, which proceeds by autonomous and ellipsis narrative blocks, turns towards the surreal and is constructed by a series of hallucinations of the extended Takashi imaginable, remember the dream of Il grande Lebowski? Even more persecuted by those around him than it already is in reality. Although the ending seems less convincing than the two previous parts entitled “Inertia” and “Fossils”, Soshite dorobune wa yuku seems to be one of the most successful indie films of Japanese cinema in recent years, with more than one element in common with the beginnings of Yamashita Nobuhiro.