6th QCinema International Film Festival
2018年10月16日
Tokyo Island (Tōkyōjima,東京島)
2018年10月22日

I Wish (Kiseki,奇跡)

[ Directed by ]
KORE-EDA Hirokazu
[ Produced by ]
• KOIKE Kentaro
• TAGUCHI Hijiri
[ Cast ]
• MAEDA Koki OSAKO Koichi
• MAEDA Ohshiro KINAMI Ryunosuke
• OHTSUKA Nene OSAKO Nozomi
• ODAGIRI Joe KINAMI Kenji
• KIKI Kirin OSAKO Hideko
• HASHIZUME Isao OSAKO Shukichi
• NATSUKAWA Yui ARIYOSHI Kyoko
• ABE Hiroshi SAKAGAMI Mamoru
• NAGASAWA Masami MIMURA Sachi
• HARADA Yoshio YAMAMOTO Wataru
[ Staff ]
• Screenplay: KORE-EDA Hirokazu
• Cinematography: YAMAZAKI Yutaka
• Production Design: MITSUMATSU Keiko
• Editor: KORE-EDA Hirokazu
• Music: QURULI
[ Production Company ]
“KISEKI” Production Committee
[ Distributor (Japan) ]
GAGA

Release Date: June 11, 2011
Running Time: 128 min
Genre: Drama, Children/Family, Feature
Color: Color
Screening Format: –
[ Story ]
An interpersonal drama about the healing of a family, inspired by the Kyushu bullet train that began operating in March 2011. Kore-eda Hirokazu, who also depicted the emotional landscapes of children in Nobody Knows, built his screenplay around young brother comedy duo Maeda Maeda and won an award for it at the San Sebastian International Film Festival. Elementary school 6th grader Koichi (Maeda Koki) has moved to Kagoshima from Osaka after his parents’ divorce, and lives with his mother. However, he has difficulty adjusting to his new surroundings, and begins formulating a plan with his younger brother Ryunosuke (Maeda Ohshiro), who lives in Fukuoka with their father, to bring about a miracle.
[ Official Site ]
kiseki.gaga.ne.jp/
[ Film Festivals, Awards ]
• Pusan International Film Festival 2011
• San Sebastian International Film Festival 2011 Competition Jury Prize for Best Screenplay, SIGNIS Award
• Toronto International Film Festival

After twenty years since his debut as a documentary filmmaker and after the last Kuki ningyo (Air Doll), Koreeda Hirokasu returns to sail around the shores of him perhaps more ‘responsive. We are back from parts of shiranai We will give (Nobody Knows), or even more, perhaps, closest to the poetic and time of Aruitemo aruitem or (Still Walking), also considering the participation of some actors who had met in his penultimate film as Abe Hiroshi and Kiki Kirin, which here still play secondary parts. Are in fact children the absolute protagonists of the story, starting with two prodigious Maeda brothers, absolutely perfect, matadors of the scene that convey the film to their characteristics and their energy. This is partly Koreeda here stands as an author by subtraction, that is, letting the kids talk about themselves, their movements, their reasons and even their innocence. It starts from this situation: a broken home, father and son in Hakata and mother with her parents and the other son in Kagoshima, just when the Sakurajima volcano is erupting. The lives of the two families are described in their daily life, school, friends and the will, especially on the part of one of the children to gather the family. This is intertwined with the desires that every child has for their future, who wants to become a player of baseball, who actress (after his mother failed her, career) who simply wants to marry the teacher and so on. And ‘this is the real theme of the film, the dreams and the world of children, but know that probably you will not be able to realize these desires. A small group from Kumamoto and another from Fukuoka agree to meet, without the knowledge of parents, half way, the space that corresponds to the place where the two new Shinkansen lines meet. It is said that by expressing their wish when two trains meet these will come true, or at least is what I hope the boys. The trip is a tragicomic series of adventures, punctuated as always in Koreeda from the sense of the passage of time on the part of the older, the change of an era, the incessant inevitable old age.
The film, in addition to the touch to which the Japanese director has accustomed us now, great use of backlighting, some scenes filmed in pure documentary style, also has the advantage of dampening the temptation to become lyrical cloying thanks to laugh and try, really amazing , the two young stars. Kiseki no offers, fortunately, easy happy ending, indeed, in a recurring question in the film, the father (Joe Odagiri) first, and then the children, they wonder, more or less seriously, whether it is more important family or the world, leaving the latter term vague enough and suspended. Without giving away too much, suffice to say that to “win” in the end will be just the “world”, with its variety and richness.
[Katsuyuki Nakanishi]

mm
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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