Director, Screenplay Subject E: Kota Yoshida
Cinematography: Saki Masafumi
Running Time: 30 mins.
Release Date: 2010
Tuesday Model (Tuesday Girl)
Directed, Story and Screenplay : Rikiya Imaizumi
Cinematography : Hiroshi Iwanaga
・Katagata Kazuyo, Aya
Running Time: 44 min.
Release Date: 2011
Two more suggestions from Nippon Connection 2011. Both works were marked and promoted as part of the “new movements” from Hoga Holic , a note webzine that since 2008 focuses on the promotion of Japanese independent cinema.
Tuesday Model (Tuesday Model ) of Imaizumi Rikiya is a grotesque comedy about marriage as opposed to separation, honesty opposed to lies. The story, divided into days, has as main protagonists two couples: the first is to get married, but boy, it will be found, is hidden behind a barely concealed network of lies and is continuing to attend an ex from school to which he had made promises of marriage; the second is a pair split because he can not trust his girlfriend who was fired (but we will succeed in the end). For this reason passing their days on the bank of a river, with other characters (two girls, a bum confused).
The director, former assistant director Yamashita Nobuhiro and awarded in the past for his short feature screenplays precise and realistic dialogues, gives here a surreal cameo playing the character dell’homeless who lives in a tent by the river.
I think there are several similarities with Love Addiction : the relationships between the four reproduce in a sense the “massacre game” of Nobuteru Uchida film. Not only: the surreal dialogues, shots that contain the characters as in a ring while “fighting” battles even painful feelings, we reproduce some ‘atmosphere, although here the tone is light-hearted, less profound. In Love Addiction the girl-love-addicted remains mired in date from loving suffering a self-centered man, selfish (but the beautifully brilliant and ironic dialectic, in expounding his theories on feelings and relationships) in Tuesday Model a similar sequence (internal , the four around a table) proposes a different and liberating finale: the unveiling of the betrayal by the husband, girlfriend indulges in a rousing laughter and saving.
Sumidaku Kyojima 3 c h ō me ( Kyojima 3rd st., Sumida City ) Yoshida Kota is a convincing proof of that film “him” to the character, that we want to investigate emotions and moods.
Short film 30 minutes in which to hit the eye of the camera follows a female student, the light during the meeting with a friend, later in a shop where the girl steals a small cosmetic bag for makeup. The shop owner, a meek guy, sees her and begins a subtle game with her sadistic: forcing the girl to remain in the back of the store and insists on having his data, he wants at all costs to its address. It also tells its own theft, years before, holds her with kindness, but in fact his insistence is disturbing. A game, perhaps. A lesson to be imposed for theft. She resists, he is able to leave without leaving the address.
At home, however, during dinner, he decided to clear his conscience and reveals to his mother his mistake. A touching scene, the camera move towards her is very slow, up to close on her face in tears, at that point, however, also expresses strength and determination. As in previous films, the choice of the truth is opposed to falsehood. Exceeded the threshold (and proof), the girl back to the shop and leaves a note next to the guy sleeping with your address (which is, of course, the title of the film). The finish is all for heroin that is compared with its gray areas, has faced and defeated, and that can then walk with her friend in the peaceful setting of the streets of the neighborhood.