Tokumei joshi ana Namino Yōko: Love is over (特命女子アナ並野容子:Love is over)
Pyabōhen (SP野望篇, SP The Motion Picture)

Kanzen naru shiiku: maido, for you (完全なる飼育~メイド、for you – The Perfect Education 7: Maid, For You)
Directed by: Kenta Fukasaku
Subject : from Matsuda Michiko novel
Screenplay: Kensuke Zushi
・Oami Ayano
・Ken Maeda
・Masahiko Nishimura
・Masahiro Hisano
・Kurokawa Mei
・Naoto Takenaka
Running Time: 100 min.
Release Date: 30 January 2010
[Official Site]
Score ★☆☆☆☆ 1/5
PIA : Comments : 4.5 / 5 At the exit of the rooms : 88/100
There is a bit ‘of everything in this Kenta Fukasaku film: love, sex, drama, violence, references to everyday issues such as the economic crisis and the difficulty of finding work. All packaged in a kind product that revolves around the lives of girls and patrons of a meido kissa , one of the local coffee shop type of Akihabara (Tokyo district) in which young girls in sexy waitresses kept entertain customers.
The Perfect Education 7 – Maid For You , it also clearly indicates the title, comes after six previous works on the same theme: ‘ “Education” of a woman, kidnapped and segregated, until it becomes perfect accessory voted to men’s satisfaction. The number 5, 2004, was directed by Kobayashi Masahir or and the number 6, again in 2004, by Wakamatsu K ō ji.
Kenta Fukasaku, Kinji Fukasaku’s son with whom he had directed Battle Royale II: Requiem (2003) and author of the recent Kuronezumi , take advantage of the theme to pad its various film ideas and to give the work a personal touch.
The first part is quite disappointing, hymn to the most vulgar television programs punctuated by winks of Lolitas silly and the dazed looks of the patrons / participants. Moreover underlined by a soundtrack composed by violins annoying. It feels a change log when the protagonist, Kabashima, Ichigo decides to kidnap the girl nicknamed Strawberry, and be secluded in the dressing room of the manga store where he works. From that moment the light sculpts the figures in the cramped space and makes them emerge from the darkness, while the camera is running out on the bodies and faces (some scenes are in 3D).
He is a shy nerdy infatuated with the girl (because it was the only one in the room looked at him in the eye), tries to rape her, then she changes her mind. At that point, however, the jailer / prisoner ratio is perfected: Strawberry no longer tries to escape, indeed, autosegrega in the closet, and between the two seems to arise a feeling and certainly born an intense sexual attraction. The guy retires in another closet, from which looks through a monitor, or the talks from the hallway, without entering the space where her; alternating scenes of sex and romantic scenes set on terraces overlooking on the city buildings or in basements lit by candles. Kabashima also face a rival in love from the air rather idiotic, attacking it with violence, which will cost the couple a daring escape from the police, up to an absurd as fairytale ending.
The director disseminates hints, it was said, the economic crisis, for example (one of the patrons of the manga store, locked as he steals in the shop, confesses that because of the recession was forced to cease its activities shrank to read manga) and even some horror cue, to remind the director’s predilection for the genre. I would recall, in the negative, the scene “riotous” rival plump who goes around with a knife stuck in his back; on the other hand I found engaging details, extreme close-ups of the two, especially her.
The film is certainly not a masterpiece, but it offers an interesting reflection on the look (even Kuronezumi ended with a long ambiguous gaze of the protagonist, which could give rise to different interpretations): The engine that initiates the story is the gaze of Strawberry, “direct” to capture the boy; in the evolution of the story the same look will become the first in a glance “mediated” by the monitor and finally even “denied / avoided” when he will talk about staying behind a closed door. An inverse progression to that of the ascending and intimate physical relationship between the two.
[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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