I Am Sion Sono! (Ore wa Sono Sion da!, 俺は園子温だ !)
Balloon Club (Kikyū kurabu are go, 気球クラブ,その後 )

Into a Dream (Yume no naka and,夢の中へ)

Director: Sono Sion
Screenplay: they are Sion
Photography : Hiroo Yanagida
Scenography : Junko Suzuki
Morals : Yumi Maruoka
Mounting : Junichi Itō
Sound : Akira Onishi
・Tetsushi Tanaka
・Natsuo Yna
・Murakami Jun
・Odagiri Jo
・Ichikawa Miwako
・Iwamatsu Ryō
・Maro Akaji
・Nukumizu Yōichi
・Tezuka Toru
Production : Hrotaka Asano, Takeshi Suzuki for Moving Pictures Japan / T. artist
Running Time: 103 min.
Release Date: June 11, 2005

PIA: Comments: 3.5 / 5 At the exit of the rooms: 66/100

Score ★★★☆☆3/5

With Into a Dream Sono Sion focuses on the moment when the change originates. A courageous choice, and entirely successful because it managed the effort from realism to abstract gestures and deepen the discussion on the dynamics of thought. That, in fact, become immediately the center of attention of the director, that pushed to build the film around a spiral path, which starts from a comprehensive view of the protagonist’s retreat – friends, work, affections – and then slowly plunge into the depths of his soul.

His journey is a backward path and not just because coming home means coming to terms with its past, but because in his gestures there is inherent the idea of ​​not being able to grasp things in the right direction (when, for example, call repeatedly without success to a friend who does not really understand the reasons for his restlessness). Particularly it refined the ploy are in filming Suzuki as moving backward, like when you slide on the contrary a movie and everything seems upside down necessarily. Feeling that only involves the protagonist, however, increasing in him (and the viewer) the feeling of disorientation in a familiar, yet elusive. In his wanderings through the streets, Suzuki slips without stopping, you subtract the meetings and places, abandons and is abandoned. Why should not random seem the place it occupies on the train she makes the short journey to return to his country of origin. In giving his back to the direction of travel is the meaning of the film and the double (false) movement in which it is almost unknowingly involved.

Not only backwards, therefore, for Suzuki falls continuously in the vacuum of dreams like Chinese boxes. You could lose nell’andirivieni dream in which he is involved because I’m organizing the narrative in order to blend the layers and bring together what is real in what is not. More just would speak of “smearing”, which avoid the net separating lines, no need for deception, but to leave in each of the three stories of the other fragments. So Suzuki actor in crisis can get lost in lengthy interrogations of a dream and then experiencing the adventure of wounded activist. The displacement remains the same wherever they are and continuous awakenings, almost always in the foreground, become the rhythmic punctuation of an often unpredictable speech. Until the metaphors become more simple and scattered traces and camouflaged out of the closet. We find, therefore, that to torment Suzuki are making career choices and a certain existential insecurity. “When I became a person who is not?” Asks repeating part of a monologue to recite, without ever realizing that demand longer belongs to him that one of his characters and that does not serve a particular pitch to make it true. Just this is the lifeline by which re-emerge on the surface: to dream their own alter ego saying the same sentence. Redundancy is effective on the awareness and the disorderly wandering begins to take on a more controlled and controllable form. You are careful to relate the plan of the story with that of enjoyment, the character and the viewer are conveyed along rails so precise as to perceive the film as a long sequence shot, with the machine always on the move taken, almost wobbly for accentuate l0idea of ​​flagrante delicto. Everything happens seamlessly. The scheme is, not surprisingly, the theatrical performance where everything is located almost on the same level, equally urgent and increasingly declined in an abstract present time.

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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