[ Directed by ]
[ Produced by ]
• OMORI Ujikatsu
• ACHIWA Takashi
[ Cast ]
• EMOTO Tasuku UCHIYAMA Kentaro
• SASAKI Kokone Kokone
[ Staff ]
• Original Story: ISHII Takashi
• Screenplay: ISHII Takashi
• Editor: MURAYAMA Yuji
• Sound Recording: KITAMURA Mineharu
• Music: YASUKAWA Goro
• Cinematography: SASAKIBARA Yasushi
• Cinematography: YAMAMOTO Yoshiaki
[ Production Company ]
KADOKAWA, Femme fatale
[ Distributor (Japan) ]
[ Production Studio ]
Release Date: June 15, 2013
Running Time: 112 min
Genre: Science Fiction/Fantasy, Feature
Screening Format: DCP
Subtitle: English, HDCAM
[ Story ]
Director Ishii Takashi, who earned international acclaim for pursuing a unique kind of sexuality in films like
A Night in Nude, adapts his own short comic from 1992 for film. Fantasy depicting the peculiar interaction between a geeky guy who is into figurines, and a beautiful young figurine.
Uchiyama (Emoto Tasuku) loses his job, drowns himself in booze and ends up getting attacked by punks. He flees into an abandoned building, where a bunch of mannequins are trashed in one of the rooms. There, he discovers a figurine (Sasaki Kokone) exquisitely made and dressed in a schoolgirl sailor outfit.
[ Official Site ]
[ Film Festivals, Awards ]
2013 Fantasia International Film Festival
In a direction opposed to what followed by many of his Japanese colleagues who started working in the erotic cinema. According to the cases, to more explicitly authorial areas or in the main streams Ishii Takashi, after having obtained considerable attention in the ‘scope of European film festivals with films – although very gender related, such as Shinde mo ii (Original Sin, 1992), Nūdo no yoru (A Night in Nude, 1993) and Gonin (Five, 1995), addressed mainly in recent years to a production that seems to recall the old glories of Roman porn and Pinku eiga. It could be considered a new master of the Japanese erotic B series, if it were not that on his films are always characterized by a high rate of aesthetic processing, especially in the photographic care of the images and in the use of lights and colors that little confirms the tradition of B Pictures.
The baroque and erotic character of his work, also evident in the recent Amai muchi (Sweet Whip, 2013) can recall several moments of the recent cinema of Sono Sion, in particular Koi no tsumi (Guilty of Romance, 2011), as well as the subject of Hello, My Dolly Girlfriend, refers to the recent film by Koreeda Hirokazu, Air Doll (2009), because, in both cases, it focuses on a solitary man who finds consolation in an erotic doll, which takes life and thematizes the evil of urban living.
The young Kentarō has in fact been turned away from the publishing company he works for, producing economic losses. In the opening scene of the film, while he silently suffers the reproaches of his bosses and colleagues, some imaginary black and white insertions show him to rebel against accusations, thus introducing that dimension between the real and the imaginary that will be constitutive of the whole work. Left also by his partner, who seems not to want to deal with a loser, Kentarō tries quite unnecessarily, to find consolation with the erotic models of his collection of female characters of manga and some local striptease. After a fight with a pair of lesbians, flees chased by the two, decided not to forgive him, and find refuge in an abandoned building. Here, in a room full of sachets of cocaine, meets a female mannequin in all respects equal to a real woman,so to come to life, with which ends with flirtation. After several vicissitudes, including the killing of the two lesbians by a group of drug dealers, rapes, and a necrophilic moments. Kentarō takes the doll home, gives it a name, Kokone, the same as the actress who plays the character and leads with her desolate daily existence, finding consolation only in a morbid erotic relationship, which is divided between the bed and the bathroom, moments of tenderness and others of violence.
The main feature of the film is in some ways its fantastic dimension in the Todorovian meaning of the term, in the sense that everything that happens is suspended in uncertainty whether it really happened or whether it is simply a fantasy of Kentarō.
Despite her erotic complacency, the sex scenes are particularly protracted over time. Hello, My Dolly Girlfriend offers a convincing portrayal of urban loneliness, of the vain attempt to remedy them through sentimental and erotic surrogates, of falling into one’s own obsessions, always isolating oneself more from the world, and of living sex as the only form of relief to the ills of which we are victims. [Katsuyuki Nakanishi]