That’s it (Soredake, ソレダケ)
2018年9月3日
Our Mother (Kabei,母べえ)
2018年9月17日

Love Strikes (Moteki,モテキ)

Love Strikes (Moteki,モテキ)

[ Directed by ]
ONE Hitoshi
[ Produced by ]
• SUZUKI Kazumi
• OKABE Shinji
• TSUYUKI Yukie
• ICHIYAMA Ryuji
[ Cast ]
• MORIYAMA Mirai FUJIMOTO Yukiyo
• NAGASAWA Masami MATSUO Miyuki
• ASO Kumiko MASUMOTO Rumiko
• NAKA Riisa Ai
• MAKI Yoko KARAKI Motoko
[ Staff ]
• Screenplay: ONE Hitoshi
• Original Story: KUBO Mitsurou
• Planning: KAWAMURA Genki
• Editor: ISHIDA Yusuke
• Cinematography: MIYAMOTO Wataru
[ Production Company ]
TV TOKYO, Toho
[ Distributor (Japan) ]
Toho
[ Production Studio ]
Toho Eiga Kikakubu, Office Crescendo

Release Date: September 23,2011
Running Time: 118 min
Genre: Comedy, Romance, Feature
Color: Color
Screening Format: Digital Betacam
Screen Size: American Vista (1:1.85)
Sound Processing: Stereo
Subtitle: English

[ Story ]
Romantic comedy based on the popular comic that made such a big impact that the title became a buzz word. Depicts a young man who suddenly becomes attractive to the opposite sex, as he searches fortrue love. This film was released after the highly acclaimed live-action TV drama, and was also a big hit. Thirty-one-year-old Fujimoto Yukiyo (Moriyama Mirai) works as a writer for an online news site. A nerd who never really clicked with girls, he encounters four incredibly beautiful women, starting with magazine editor Matsuo Miyuki (Nagasawa Masami).
[ Official Site ]
http://www.moteki-movie.jp/

The director’s first film, inspired by a hit television series, Love Strikes! narrates the sentimental education of a shy and embarrassed thirty-year-old. Fujimoto Yukiyo is an inexperienced boy in love affairs and is struggling with a new job in which the boss, like his colleagues, mock him for this condition that is clearly shown in the character’s mimicry, in the gag of which he is the architect and at the same time victim. Comic situations that are pressing in the first part of the film, give impetus to a narrative rhythm aimed at attenuating the development of the plot. His inner conflict is made explicit by the voice of comment, by the filter of a subjectivity that ironically deforms the vision, which becomes a symptom of a complex and of a relational difficulty. The best and fun sketches involve acrobatic moves with which he avoids potentially embarrassing situations (when he tries to kiss for the first time Miyuki), intent on concealing his most instinctive impulses and thus allowing the comedy to take on a light tone that however seeks to alleviate the his sincere humor to focus on the sentimental dynamics aimed at placing the protagonist at the center of a series of misunderstandings and rather predictable junctions. The original title Moteki, in fact, is a term that designates the period in which one becomes attractive and turns out to be an object of interest for the other sex: narrative engine aimed at feeding the alternation of events. Yukiyo in his alienated condition, chatting, comes in contact with a guy, meeting in person on an appointment, discovers she is the beautiful Miyuki in turn attracted to him, but engaged with a married man. The situation is further complicated when even the colleague Rumiko entertains a relationship with the protagonist, giving rise to a classic articulation in which the love triangle doubles, despite the undoubted attraction of each other between the two main characters.
By means of the feelings and rhetorical element of considerable importance is the music that assumes its full function as a thematic, didactic and narrative, as well as expressive. A lover of pop culture he writes for a trendy site, a concert goer and karaoke, Yukiyo is a rock singer in which his emotions express himself explicitly through the lyrics of the songs and where he takes shape in choreography typical of the musical.
A debut as a director, that of Ōne Hitoshi, which has enjoyed success thanks to the interpretation of the female protagonist Nagasawa Masami and that has obtained four nominations for the Japan Academy Awards, one of which is precisely for the role of leading actress.
[Katsuyuki Nakanishi]

950D9C98-302F-4E16-A8E8-873819FBBBAD
mm
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).

Leave a Reply

Your email address will not be published. Required fields are marked *

200-125   300-075   210-260   210-060   300-115   100-105   300-101   400-101   300-320   300-070   300-206   200-310   300-135   300-208   810-403   400-050   640-916   642-997   300-209   400-201   200-355   352-001