Ushiro kara mae kara (後ろから前から, From the Back or From the Front, a.k.a. Any and Every Which Way)
2016年8月12日
Black angels (ブラック・エンジェルズ, Black Angels)
2016年8月19日

Danchizuma hirusagari no jōji (団地妻 昼下がりの情事, Housewife’s Afternoon Delight)

[Staff]
Director: Shun Nakahara
Screenplay : Yamada Kota
[Cast]
・Sakiko Takao
・Masaki Miura
・Masashi Endo
Running Time: 70 mins.
Release Date: February 13, 2010

Score ★★☆☆☆ 2/5
PIA : Comments : At the exit of 3/5 rooms : 60/100
In 2010 Nikkatsu tried to revive the genre roman porno with two films released simultaneously and in some cases screened together. One is Ushiro kara kara mae (already reported) and the other is here reviewed. Unlike the first, Danchizuma is a real and also quite interesting film, where the erotic themes are functionally well-connected to other aspects of the story told. On the other hand the director is a professional, if not a real author. Nakahara, in fact, despite having made his debut as a director of roman porno own with Nikkatsu, has already signed in 1990 the significant Sakura no sono (remade by him in 2008), and continues with a series of often interesting jobs, including Konsento , déraciné , Ichigo no kakera .
Danchizuma resumes in its own way the first roman porn produced by Nikkatsu, which had the same title and was signed by Sh Nishimura ō gor ō (1971) . The story is very simple, over and over again many times but the adiffernza makes the director. A couple like many others, anonymous. He salaryman, her home. They live in a huge tenement suburbs, populated by other people like them. He works all day, often in the evening, sometimes at night; she is at home, waiting for him, bored. They can not have children; when they try she is totally absent, he stove in the middle of intercourse. In this emotional desert comes a seller of water filters, she is attracted, bursts the passion. The rediscovery of the body, the pleasure of playing, of the existence of physical sensations. The guilt, however, is stronger: after a while she confesses everything to her husband. Crisis return to normality, transfer to the birthplace of him, who has since lost his job.
The story is very simple, over and over again many times but the difference is made by the director. Nakahara is good to take a cut totally devoid of faux glamor and typical of the general licentiousness, without for that lapse in squalor. On the contrary, his approach likely to represent existential voids can give effective erotic scenes. Sex is thus to be a fleeting moment of liberation within the extreme solitude dynamics, a stone into the pond of frozen emotions, but closes again immediately after. All the characters are and remain the losers, but without any rhetoric. That’s life.
[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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