[ Directed by ]
[ Produced by ]
[ Cast ]
• NIIKURA Kenta Koji
• WAKAI Naoko Tomoko
• SHIBATA Chihiro Kaori
[ Staff ]
• Original Story: MIURA Daisuke
• Screenplay: MIURA Daisuke
• Cinematography: ONE Hitoshi
• Cinematography: OZEKI Yasuyuki
• Cinematography: TAKAGI Futa
• Sound Recording: IWAKURA Masayuki
• Sound Recording: KOCHI Takuro
• Music: IWASAKI Taisei
• Editor: OZEKI Yasuyuki
[ Production Company ]
[ Distributor (Japan) ]
Release Date: March 30, 2013
Running Time: 138 min
Screening Format: Blu-ray
[ Story ]
made by Hitoshi One, one of the very popular directors. His second work was made as one of the projects in the workshop, Cinema Impact. It was made with very low budget and four days of shooting days. Its repetition was wide spread by SNS and became a big hit as an independent film.
Nine people met in a home party. Seemed like everything was messed up in the end. But from this night they started forming complex relationships involves lies, truths, secret intention and love.
[ Official Site ]
[ Film Festivals, Awards ]
• 2014 Hong Kong International Film Festival
• 2014 Udine Far East Film Festival, Competition
Koi no uzu (literally and ironically “Vortex of love”) is certainly one of the most original and worthy films of the latest Japanese film season. Directed by One Hitoshi, an experienced television director who has already come to the cinema with Moteki (Live Strikes !, 2011), Koi no uzu is an independent production, low budget and filmed in a few days, which incorporates its structure, certainly in ways desecrating from reality models. Set entirely within the narrow studios inhabited by its various protagonists, the film is a sharp representation of the world of so-called DQN (dokyun), twenty-thirty years of poor education, few ambitions and no cultural interest, which survives thanks to part time work Temporary. Seeing in the dokyun world a metaphor of the discomfort but also of the inadequacy in every sense of certain layers of Japanese society but the speech would also apply to Berlusconi’s Italy, seems to me more than evident. It is a world devoid of values, ambitions and backbone, macho and misogynist, where the favorite sports are to betray the trust of others, talk behind and get into bed with someone no matter who. A world where reading a book or even watching a film are completely alien experiences. What is worse is that the “heroes” of this world are not those who somehow enjoy their privileges, but those who are overwhelmingly on the sidelines and forced to enjoy to speak those that are its crumbs (even starting from the same food made of crap-instant food purchased in a konbini, small supermarket usually open 24 hours a day).
Through the use of an indiscreet camera, almost always by hand but without excesses and close to his characters, quick and sharp dialogues, a montage that goes from one studio to another intertwining different situations, a temporal scan highlighted by the use of captions («a week later», «three hours later», «an hour later»), Koi no uzu tells the daily life of a group of young friends, and above all of their different relationships, without any of them taking the upper hand over the others nine different characters and all with an almost identical narrative space. Osamu establishes a relationship with Yuko, but repeatedly mistreates and takes bad words. But when he can not find her on the phone, he begs he cry to come back, to resume again, after she has remade herself, her previous behavior. The moment she confesses that she has revealed their relationship to a friend of his, he goes on a rampage and tells her to be ashamed that someone knows that he is with a “mussel”. Finally the girl reacts by kicking him and arousing applause in the audience of Far East Film in Udine (where the film was presented in April this year). Takashi just arrived from the countryside and guest of his friend Yuta who is infatuated, falls in love with Kaori, who, in words, says he is available, then disappear without being seen anymore, ending up instead with going to make a blowjob to the friend Satomi. Satomi, in turn, lives with Naoki and is obsessed with his own jealousy, despite being the first to betray the pregnant partner. This, moreover, will be discovered at the end, hides his real profession: that of call girl. Koji, finally, lives with Tomoko, but does not miss the chance to talk about her to his friends, telling them that even if he were left he would not care much. But when this happens, he will pray the girl in vain to return to him.
Although the film is full of sexual situations, these are more entrusted to the dialogues that really shown, this however has not prevented some cinemas in Tokyo to reserve some projections exclusively to a female audience, in a more reassuring environment freed from any harassment .