Into a Dream (Yume no naka and,夢の中へ)
2017年2月27日
Facing against pain, cuddling in the future
2017年3月6日

Balloon Club (Kikyū kurabu are go, 気球クラブ,その後 )

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[Staff]
Direction, Subject and Screenplay: Sono Sion
Photography: Tanikawa sohei
Mounting: Ito Junichi
Sound: Shinpei Harakawa
[Cast]
· Futami Motoki (Jiro)
· Nagasaku Hiromi (Mitsuko)
· Yukie Kawamura (Midori)
· Hasegawa Tomoharu (Murakami)
· Issei Ishida
Production: Tomita Toshiie to Plusmic CFP
Running Time: 93 min
Release Date: December 23, 2006

PIA: Comments: 2.5 / 5 At the exit of the rooms: 55/100

Score  ★ ★ ☆  2/5

The day when Murakami (Hasegawa Tomoharu), the founder of a wild-eyed fans of ballooning club, dies of a banal motorbike accident, Jiro (Futami Motoki) and other former members of the group, broke up five years ago, they meet in The only absent at the convivial gathering is Mitsuko (Nagasaku Hiromi), the taciturn and mysterious girl Murakami, from which the Jiro himself was attracted at the time when attending the club. Later in the day , They emerge among young people, memories, reflections on the nature of the bond that unites them, as well as reflections on the dreamer’s personality Murakami and his relationship with Mitsuko.

One of the lesser-known foreign films including those shot are from after the turn of Suicide Circle , along taking her place, along with Into a Dream , Hazard and, above all, to Be Sure to Share , in that part of the small but However the presence of a subject such that friendship, a minority in the cinema are, as well as the The Actor Of Participation In The Role Of Jiro Motoki Futami, References To The Immediately Preceding Hazard , Adherence To The Canons Of A Popular Genre (In This If The Seishun Eiga ,Even stylistically, they are striving to maintain a realistic log, and expresses, and the youth films) and devoid atmosphere of those filmmaker, make it a project clearly closer to Share. Its willingness eccentric without deviating excessively from the usual clichés of the genre, taking an inconspicuous digital photography, almost banal soundtrack, from drama television, a direction and a montage of cinema vérité to describe plausible situations in everyday life fund, despite their singularity. And Yet , how shall it be also in Be Sure to Share , the filmmaker does not negate entirely his own inspiration,And favors instead the dictates of the genre for veicolarvi yet another story of alienation and disintegration.

Structured on several temporal levels through the use of flashbacks and ellipses, with the usual attention to the scanning of time through the use of appropriate captions, Balloon Club is held as an introspective path triggered by death of a person who has taken an important role in the lives of the protagonists. Murakami is to Jiro, and for the other members of the club, a sort of spiritual guide to which they tend, however, struggling to esaudirne expectations. An eccentric and incomprehensible in style are, sort of ramshackle but bewitching magician, he is the foremost symbol of an age, youth, where it is allowed to dream and cultivate aspirations, before they are “deflated” from the landing adulthood. Murakami’s character is, however, not without its gray areas, because those who can not or will not be included in his dream will inevitably be left behind and excluded from his life. This will probably lead to the end of the club, but it is especially Mitsuko, the Murakami girl to make more expenses of the dedication of the companion to your dream. One year after the dissolution of the club, the protagonist Jiro tries to reconstruct the history of the relationship between the two gluing fragments of episodes from his narratigli Midori girl and other members of the club. Almost as if he was running a film within the film, at this stage are almost completely aside the other characters and the story of the club to return to the early days of its founding, focusing on the figure and melancholy inexplicably Mitsuko and shedding light on his relationship with Murakami . Are then brought to the surface the difficulties of communication in the couple and the apparent inability of man to compromise with his dream, which comes between the two.

[Katsuyuki Nakanishi]

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Katsuyuki Nakanishi
Born on 1984 in Nagoya City, Aichi Prefecture. Graduated in Vantan Film and Movie Institute major in film director. The fourth graduate of JSC Cinematographers assistant upbringing cramming school. While he was studying in Tokyo, he was also working with Director Shinya Tsukamoto's movie at the same time. After that, he became part of the lighting department of Toei Studios Kyoto, studied under Kiyoto Ando and Takashi Sugimoto. In these movies, he worked as an assistant lighting director with Takashi Sugimoto in "Chacha - Tengai no Onna"(2007) and Kiyoto Ando in "The Fallen Angel"(2010). He work as a freelancer since 2011 and became part of these latest movies as a lighting director of Director Yang Ik-June's ”Shibata and Nagao"(2012), Director Keisuke Yoshida’s ”Himeanile”(2016), Director Kohki Yoshida’s ”ThreeLights"(2017), Director Hiroshi Ando’s ”Moon and Thunder" (2017) and Director Shinya Tsukamoto’s ”Killing” (2018).

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