Director: Sato Hisashi
Subject & Screenplay: Takagi Mikiya And Sato Hisashi
Photography: Shinomiya Hidetoshi
Runiing Time: 30mins.
Release Date: 2010.
Kekkongaku Nyu Mon Shinkonhen (ABC’S Of Marriage) Of Sat O Hisashi And The Classic Slapstick Comedy:. At the wedding a couple next to Work In a Firm Wigs You See A Having to Compare With the impact of life on Own Work Placement Report The Pressures Of the boss, the obstacle course with competitors to grab the prestigious customer, resulting in a path based on misunderstandings and pursuits that will lead, after a succession of gags, the inevitable happy ending.
The stunts are fun (the al’occhiello flower company is a wig which should naturally grow hair …), the fast pace and the two convincing protagonists.
Hanasanaide (Never Let Me Go)
Director: Fukui Sayaka & Naritomi Kayo
Subject And Screenplay:
・It Hiromitsu O
・O Shinji Sait
Cinematography: Shinomiya Hidetoshi
Running Time: 26 mins.
Releasing Date: 2010
The second film, Hanasanaide (Never Let Me Go) Of Fukui Sayaka, Product In Collaboration With Momomatsuri Short Film Festival, And Of Comedy Kind Macabre Focused on Character Of Which Are Offered Keep It Intense first floors.
The story develops around the mutual relations between a boy (charming and diabolical enough) and three women. Or, rather, two women and a ghost. One of three girls has in fact been the victim of a mysterious accident and she died falling into a river; the second ended up in hospital, she also involved in the incident ;. the third, current girlfriend of creepy guy, is a writer who decides to write a novel about their history followed predictable retaliation and conflicts with her boyfriend, not at all agree with the book’s publication. the film is interesting for the plot, for the wise massacre game that unfolds in the relationship between the four characters. And it is even more so, towards the end, he proposes a reversal of roles: the young man, who until then seemed a cruel puppeteer against female characters, obsessed with receiving his attentions, after intense “moment-truths “at the scene, accomplices even hallucinations caused by the presence of ‘ex-girlfriend ghost, it will eventually fall by the precipice into the river and will remain paralyzed.
The end is to become an executioner victim of a woman, the girlfriend-writer, it appears at this point animated by a determination that he had not had so far. And ‘she who, in the last scene, wrapped in an elegant black coat, pushes the wheelchair him, now in his power, promising to “never leave it.” And they are not the words of a faithful woman and submissive, but rather a little veiled threat.
The third film, what I preferred Absolutely, E Y O Naritomi Di ko kayo.
Story Wheel Around The Figure Of a young woman, Amongst Problems With Alcohol, Ai Difficult Relationships With Daughter And Absent With Brother. Y O ko There is Presented From Director, Gia Rewarded For Another Short Film At PIA Film Festival in 2007, as an icon of suffering, such as the alienation embodied in person. Yoko is thin, but slender and elegant, with a mass of blacks hair constantly cover her face, denying his gaze. He reminded me of another Figure Of woman, that Di Yumiko, Protagonist Of Film Maboroshi No Hikari (Maborosi, 1995) By Hirokazu Koreeda, Petrified the difficulty of coming to terms with a past Loss People Care (the Husband Especially, Unexpectedly dead Suicide), a figure that moved in a space transformed into a reflection of his inner anguish.
From the very beginning, When You Wake In Bed A perfect unknown Del whom nothing Remember, Y O ko And How Attracted To Earth, from Basso. The Director Ce The Presents For much of the time sitting on the floor, Crouched. E For Giunta with the face, and the eyes, hidden behind a blanket of hair, a dark curtain between the woman and the world.
Y O ko And an alcoholic, a mother absent, a Sister Anela For A report (now Lost / prejudiced by Reciprocal leavers / incestuous perhaps?) With the youngest brother.
Plans long sequence depicting her motionless on the couch, crashed by a pain of living that one senses profound. At the same time he sacrificed, almost like a post-modern Madonna, for claustrophobic interiors and slow times of the Long dense dilated filming of pathos.
In the final scene the woman, neat, well dressed and with her hair tied, comes out and takes the subway (even a path that leads down under the surface, deep down). There appears then as the wrap-woman, that ‘appearance that the social life consecrated to reality. Apparently everything is under control. But the magma of emotions, moods, feelings after the storm in comparison with the past and with his brother, those are enclosed in the flash of ‘last look, that hole and exceeds the normal mask. [Claudia Bertolè – Nippon Connection 2011]