You Dance with the Summer (Kimi ga odoru natsu,君が踊る、夏)
2018年5月25日
The little house (Chiisai ouchi,小さいおうち)
2018年6月4日

Our Family (Bokutachi no kazoku,ぼくたちの家族)

Our Family (Bokutachi no kazoku,ぼくたちの家族)

[ Directed by ]
ISHII Yuya
[ Produced by ]
NAGAI Takuro
[ Cast ]
• TSUMABUKI Satoshi WAKANA Kosuke
• HARADA Mieko WAKANA Reiko
• IKEMATSU Sosuke WAKANA Shunpei
• NAGATSUKA Kyozo WAKANA Katsuaki
[ Staff ]
• Original Story: HAYAMI Kazumasa
• Screenplay: ISHII Yuya
• Cinematography: FUJISAWA Junichi
• Lighting: KANAZAWA Masao
• Sound Recording: KOMATSU Masato
• Editor: FUSHIMA Shinichi
[ Production Company ]
RIKI PROJECT, PHANTOM FILM, Breth, HORIPRO, MAGNETIZE, MODE FILMS
[ Distributor (Japan) ]
PHANTOM FILM

Release Date: May 24, 2014
Running Time: 117 min
Genre: Drama, Feature
Color: Color
Screening Format: DCP
Screening Format with Subtitles
・English (HDCAM-SR)
[ Story ]
Ishii Yuya, whose The Great Passage was selected as Japan’s entry for the Best Foreign Language Film at the 86th Academy Awards, directs this film adaptation of Hayami Kazumasa’s same-named novel. Depicts a struggling family who believe in miracles as the mother’s impending death propels them toward dissolution.
The Wakana family’s mother, Reiko (Harada Mieko), has been diagnosed with a brain tumor. Sons Kosuke (Tsumabuki Satoshi) and Shunpei (Ikematsu Sosuke) are bewildered when her high-interest debt and father Katsuaki (Nagatsuka Kyozo)’s hefty loans come to light. What is the unexpected miracle performed by this hopelessly struggling family…?
[ Official Site ]
http://bokutachi-kazoku.com
[ Film Festivals, Awards ]
2014 Montreal World Film Festival, World Greats
2014 Busan International Film Festival, A Window on Asian Cinema
2014 Taipei Golden Horse Film Festival, Asian Window

Ishii Yūya’s ability to change the register and be able to keep touching us is extraordinary. After the remarkable choral story of Fune wo amu (The Great Passage, 2013), which in almost epic tones described the working and existential enterprise of the editorial staff of a dictionary, here is now, even in the same year, this intimate story of a family touched by the mother’s deadly disease.
A quiet and tidy provincial town, as shown by one of the beautiful initial shots above the roofs of the houses. A family apparently equally calm and normal: father, mother, a son married with a baby on the way, another at the university. Reiko, the mother, is a spontaneous and sunny woman, goes out with her friends, meets her children, spoiling them a bit, taking care of the house plants. But, as shown by the extraordinary sequence in the tea room that opens the film suddenly almost as if it were the continuation of a discourse already started elsewhere, every now and then, chases who knows what thoughts and then re-emerge with the name of something or someone who has gone fishing in the maze of his memory. At the beginning, these absences seem only small quirks, perhaps due to age but soon they are filled with memory gaps, errors in identifying people. A visit to the hospital confirms the worst hypotheses: a brain cancer that leaves more or less a week of life. Her husband is rendered impotent by despair, all responsibilities fall on Kōsuke, the eldest son, while Shunpei, the younger, seems to have difficulty getting out of the still somewhat childish spirit of his age and understanding the extent of the tragedy.
As the hours pass, the painting gradually changes, revealing truths different from what appeared. In fact, it emerges that the economic situation of the parents is disastrous: not being able to cope with the mortgage payments of the house, they are heavily indebted and Kōsuke has even to act as their guarantor. What’s more, Reiko, to find the money needed for daily expenses and with the unconsciousness given by the disease continuously open new debit cards that then fails to repay. Kōsuke, opposed by his wife, slowly yields, to seek comfort in a paid lover. Shunpei, however, precisely because of his initial carefreeness and his being transparent, slowly takes on a more responsible and useful role for the whole family . He will try to deny the initial tragic diagnosis and finally find a different interpretation of the state of the mother, which will allow her at least to be operated and to shift the life expectancy from the order days to that of the years. The operation will rejoin the family. The embrace of the three men at the exit of Reiko from the operating room can hardly leave unresponsive.
From film to film, Ishii Yūya is honing his own style of human stories that revolve around a family concept adapted to the times, from top-down views sometimes almost vertical, close-ups intense as regards the movements of the soul but of fields long or semi-long for the most dramatic scenes, the music made above all by guitar, piano and drums (with the addition sometimes of a violin), sweet and light but always with a melancholy vein.
The theme of the family, in fact, seems to consolidate film after film. Of course, it is not Ozu’s family or Yamada Yōji’s popular rhetorical re-elaboration, or that seen in Koreeda’s stylistic and quotation essay, nor the disintegrated family of Sono or others. It is the normal, current, ordinary family of today. Certainly not unharmed by the attacks of an external dehumanized reality and in the process of progressive disintegration but still always family. Examples of this attention are a little of all his recent films, such as Kawa no soko kara konnichi wa (Sawako Decides, 2010) or Hara ga kore nande (Mitsuko Delivers, 2011). Even Fune wo amu carries on a double “family” talk, the traditional one that the protagonist builds with the landlady’s nephew, and the more metaphorical one of the dictionary’s editors.
Ishii has the ability to tell and reach our sensibility without having to resort to stylistic hyperbole, as he does, to mention one among many, Nakashima Tetsuya (see his recent Kawaki, The World of Kanako, 2014). With a sweet and credible fictional style, sometimes a bit ‘starring, tells us about life, a life that could also be ours
[Katsuyuki Nakanishi]

0DD16C75-8C9F-4C5D-8243-A8300746D7BB
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).

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