Girls For Keeps (Gāru,ガール)

Cold Fish (Tsumetai nettaigyō,冷たい熱帯魚)

Cold Fish (Tsumetai nettaigyō,冷たい熱帯魚)

[ Directed by ]
[ Produced by ]
* CHIBA Yoshinori
* KIMURA Toshiki
[ Cast ]
* FUKIKOSHI Mitsuru SHAMOTO Nobuyuki
[ Staff ]
* EXECUTIVE Producer: SUGIHARA Akifumi
* Screenplay: SONO Sion
* Screenplay: TAKAHASHI Yoshiki
* Music: HARADA Tomohide
* Line Producer: HIMEDA Shinya
* Cinematography: KIMURA Nobuya
* Lighting: OSHITA Eiji
* Production Design: MATSUZUKA Takashi
* Costume Designer: ARAKI Satoe
[ Production Company ]
[ Distributor (Japan) ]

Release Date: January, 29, 2011
Running Time: 146 min
Genre: Drama, Thriller, Feature
Color: Color
Screening Format: 35mm
Screen Size: American Vista (1:1.85)
Sound Processing: -,DTS-SR
Subtitle: English
[ Story ]
Controversial work inspired by an actual murder and director Sono Shion’s own experiences. Shion’s films consistently make a splash at the world’s film festivals, and have been screened at festivals including the Venice International Film Festival, as well as released in North America and Europe. Shamoto (Fukikoshi Mitsuru), who runs a small tropical fish shop, finds his daughter involved in a potential scandal and he gets Murata (Denden), who runs a big store in the same industry, to keep the incident under wraps. But then Shamoto finds himself under Murata’s thumb. And Murata has a very scary side to him.
[ Official Site ]

This film will be presented in the exhibition “Confidential Report” at the 29th Turin Film Festival (November 29-December 3). On this occasion, “Sonatine” will publish in collaboration with the Festival of the book “The Lord of chaos. The Sono Sion film” containing unpublished interview at Are, broad introduction to his work, some essays and tabs all the films shown in the festival.
Inspired by a true story made of crime, concerning the atrocities of the usual serial killer, Sono Sion continues with Maid Fish , also presented at the last Venice Film Festival, his vitriolic criticism against the Japanese family, already undertaken with Suicide Circle (2002), Noriko’s Dinner Table (2005) and Love Exposure (2009). A theme very dear to the cinema of his country, as evidenced by the equally corrosive Family Game (1983) by Yoshimitsu Morita, Crazy Family of Sogo Ishii (1984) and Visitor Q (2001) by Takashi Miike, to cite only the first titles that come to mind. If Love Exposure privileged the distressed son’s point of view, forced to sin to satisfy the manic demands acquittal of the priest’s father, Cold Fish is, however, it built from the parent’s point of view. Shamoto Nobuyuki is a gentle man, who lives after the death of his first wife and a subsequent marriage, a real family inferno, caused by the violent hatred of the daughter (Mitsuko) against the stepmother (Taeko). The opening sequence of the film (the silent dinner at three, the sudden release of her daughter’s home after the arrival of a call from a friend of his, unnecessary human attempts to flirt with the wife who fears the return of Mitsuko, the this cigarette smoke outdoors in torrential rain, because it still Mitsuko has forbidden to smoke in the house) draws effectively and force a de facto situation not very sustainable. The sudden appearance of Murata – the serial killer who runs a tropical fish store far greater than the one conducted by the protagonist – and his violent entry into the life of Shamoto family, assumes at least three different meanings within the film. First is a private hell exasperated metaphor experienced by the protagonist who will boost well into a grotesque tale of murder and dismemberment of bodies; then, as noted by the same Walled Shamoto, it allows, to more or less conscious protagonist rid dell’ingombrante daughter, groped, though vainly, to recover their couple relationship with his second wife; Finally, it creates a path of liberation, which will lead to Nobuyuki finally be able to take over the reins of the game – the original when it hits the daughter who catches him having sex with Taeko – although in the end, aware, as he says, that life is just pain, the man will eventually kill himself right under the astonished eyes of Mitsuko.
Merciless, cruel and gore , Cold Fish is a kind of Fargo with a touch to John Waters and Tobe Hooper of Texas Chainsaw Massacre – and also wanting to Sabu to Monday (2000 ) – a film that confirms the vitality of its author , the consistency of his poetic universe and the irreducibility of his films to the models mainstream . The impression – but it is more of an impression – is that, with all the diversity of the case, his cinema is filling the void left from the landing to the world of Miike’s blockbuster. [Genji – 15th Pusan Film Festival in October 2010].
[Katsuyuki Nakanishi]

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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