Director: Sono Sion. Subject: I am Sion
Screenplay : Sono Sion
Photography / Camera : onling Won
Sound : Suzuki Daisuke.
Lights : Nagashima Moriyaki
・Keiko Suzuki (Suzuki Keiko, the waitress)
Production : Shunji Yoshida
Running Time: 61 mins.
Release Date: 1997.
Score: ★★★☆☆ 3/5
There is an intense sadness by’m in telling the expectation of the young waitress Keiko to his twenty-second birthday threshold. From inside her apartment, alone and thoughtful the girl remembers his past and listen to the noises of the environment that surrounds it, counting the hours and minutes remaining until the fateful event. From the first shots it is clear the author’s intent in wanting to tackle a more tied speech to the cinematic representation of the event rather than the narrative itself. Several are in fact the elements that combine to determine this position: predominance of frontal shots, a thorough investigation of the protagonist’s face, bright colors, the red in prevalence, strong internal geometric segmentation to the paintings, intense work on the construction of the identification process, representation of the profilmic space, time of chronological narrative and the time of perception of space which lies outside in the field beyond the framework and its limits, through a constant voltage true exterior.
A cinematic representation mapping, develops the temporal evolution of the image space and its stakeholders in relation to the spectator’s perception-interpretation of its becoming. The star points to be conscious of having lived more than one hundred and ninety hours, but as you can relate to that time, that actions, choices is good to take, by virtue of the fact that the hands will continue to flow? Time then becomes obligation, an essential factor of repetition leads to boredom, to the awareness of its inevitable existence, albeit in a state of “temporary” cancellation of presence and involvement. Keiko carefully counts the time which separates it from his birthday, three weeks communicating anxiety, nostalgic expectation in which the slow decay (progress of time) is opposed to the continuous move away from life itself which also gives the passing of time as paradoxical die in life. A manifestation of the feeling of impermanence, leitmotiv dear to a lot of Japanese artistic production. Through a series of still frames of past life and voice over Keiko, I’m telling the short life lived by its protagonist: year of birth, zodiac sign, children, schools, attended colleges, current employment, a number of information we allow to place it in space, and of course in time diegetic but that does not give any specific or cognitive component of who our interlocutor, leaving it again Keiko to intervene saying “from this, what do you understand?” “I’m not sure . I do not know, I have no idea. ” The link with the past is his statement in the bones of cancer late father, stolen and jealously guarded by his daughter after his cremation. A similar relation to what I will describe extensively over ten years later in Chanto tsutaeru (Be sure to share, 2009), where the director will outline gently the link between Shiro and father Tetsuji Kita, on his deathbed for a stomach tumor .
The passage of time is connatura automatisms, the repetitiveness of gestures, of their constant succession: hinges that open and close, the food which comes to cooking, the opening of beer cans, clocks that need to be recharged, the ticking of their hands, the phone ring, repetition and mechanical nature in the composition of life, which is a continuation arrovellandosi on itself and on. An everyday life that is certainty. The internal security environment becomes the vantage point from which to observe the world, hot belly and hospitality which is evident in the curious analogy of the goldfish bowl with which he plays the main character, a shelter that is both imprisonment. The starting point, as was the case in (1992), to observe and listen to the physicality and dynamism of the external environment which is, in contrast, explosion of movement and indistinct sounds. A cognitive path that goes from inside to outside through one of its mediated, indirect, given precisely by the containment of the environment itself and its perception. As the interior is still and silent outside noise is speed and dynamism. They are facing the passage of time with an analytical eye, weighing accurately every element that may become appropriate to his personal treatment time and becoming, space and filling it. The tone of the film is beyond such research from any reference to reality, there is a documentary section, but moved in a staging that is always artistic, almost surreal.
Early work Sono Sion seem, therefore, closely linked to the experimentalism of expression and cinematic syntax, one can see in the young director the aftermath of poetic composition, art house independent films, the influence of filmmakers like Terayama Shuji, the passion for ‘ hand writing and the artist’s experience of road. It’s Keiko belongs to the kind of film in which the author tries to make poetry, art in motion, in which the medium of film becomes a way to convey themselves to the public, where the main desire is to be able to broadcast a particular expressive sensitivity. It’s Keiko , however, is also an attempt to narrate and describe symbolically the years between adolescence and adulthood, a period of conflict, characterized by an exhausting search whose purpose is to understand and define themselves, on which the ‘ author will return again later in (into a Dream, 2005), calling for a new reflection in the words of its protagonist Suzuki Mutsugoro: “When I became someone who is not ?, When I was twenty ‘ years my life was full of possibilities, that’s not the choice I made.