Director and screenplay: Sabu
Photography: Soma Daisuke
· Matsuyama Ken’ichi (Chasuke)
· Ohno Ito (Yuri)
· Osugi Ren (Taneda)
· Iseya Yusuke (Hikomura)
· Terajima Susumu ( Kuroki)
· Tamashiro Tina (Chako)
Production: Bandai Visual, Shochiku
Running Time: 106 minutes
Release Date: 2015
“We can change our stories. Fear fate. ”
It is the epitaph – because of the dead we are talking about – or perhaps one of the conclusions reached by Sabu’s film: presented at Berlinale 2015 and then also at the latest edition of Nippon Connection, is based on a similar story Written by the same director.
The protagonist of the story is Chasuke called Chas, the ex-gangster boy – who serves tea to the Scribes in the Avalanche. The work of these men / spirits is frantic: in fact, they “scourge” the lives of the underlying humans, pressed by a God who always demands more in terms of new ideas and surprising interplanetals (as it is said, fantozzianamente, that not c ‘It is never a end to the stress suffered by its leaders, not even after death …). Pressed, and even a bit in conflict with each other, scriptwriters decide to kill a beautiful Yuri, the “human character” loved by Chas in a car crash. He will then be sent to Okinawa to “save her”. It will not be simple …. You will get a little bit of a way to “divert” the story: the yakuza, the crowds who will elect Chas “Mr. Angel “, a sort of healer-healer, and then also love, the most disruptive variable.
A kaleidoscopic barefoot is Sabu’s new film, in which everything is reminiscent of joy from the Cameron’s Titanic to Chaplin’s Lights. Romantic comedy, action movie that surprises the surrealist: Matsuyama Ken’ichi gives life and face to a crazy and eccentric character, who in alternating and frenetic rhythm of shooting passes by fast tracking in the streets of Okinawa to the hypermedial calm that It wraps up as it turns into miracle dispenser.
His angel healer revival is again ironic: it is through a miracle made on Youtube, and it becomes a stress for the poor Chasuke, instigated by the crowds who expect him more and more.
The film refers to other precedents in which more or less imaginative versions of Alldila were proposed: one after all by Koreeda Hirokazu, who, however, entrusted the representation of the Limbo in which the new dead were welcomed to a skinny scene, Documentary features, in a sober atmosphere. Nothing in Chasuke’s journey: hypertrophic images, slow-moving and fast-paced shooting, chases and screams, and lights “raining” on a protagonist wearing white feather wings.
In a mix of determination and casualty, in an increasingly complex structure, totemic questions emerge, but can we really change our stories? Does love make a difference or not?
Possibly, Sabu’s film, even in the final, with consistency, ceases to propose alternative and open solutions.