Zero no Shoten (ゼロの焦点, Zero Focus)
Gosurori shokeinin (ゴスロリ処刑人, Gothic & Lolita Psycho)

Parasyte Part 2 ( Kiseijū – kanketsu hen,寄生獣 完結編)

Parasyte Part 2 ( Kiseijū - kanketsu hen,寄生獣 完結編)

[ Directed by ]
[ Produced by ]
• SATO Takahiro
• MORIYA Keiichiro
[ Cast ]
• SOMETANI Shota IZUMI Shinichi
• ABE Sadawo Righty
[ Staff ]
• Original Story: IWAAKI Hitoshi
• Screenplay: YAMAZAKI Takashi
• Screenplay: KOSAWA Ryota
• Cinematography: ATO Shoichi
• Music: SATO Naoki
[ Production Company ]
“Parasyte” Film Partners
[ Distributor (Japan) ]
[ Production Studio ]

Release Date: April 25, 2015
Running Time: 118 min
Genre: Feature
Color: Color
Screening Format: DCP
Screening Format with Subtitles
・English (HDCAM)
[ Story ]
Second part of the effects-filled live adaptation of Iwaaki Hitoshi’s world-renowned SF manga by “ALWAYS-Sunset on Third Street-” series director Yamazaki Takashi. The battle between humans and mysterious “parasytes” enters its final stages.
Izumi Shinichi (Sometani Shota) and Righty (voice: Abe Sadawo) live in Higashi Fukuyama City. Parasyte Tamiya Ryoko (Fukatsu Eri) has given birth to a human child and suggests to Shinichi and Righty that humans and parasytes can coexist, but Shinichi virulently hates parasytes, who killed his mother.
[ Official Site ]

At the end of the first part of Parasyte, Shinichi, the boy with an alien implanted in his right hand, swore revenge to the parasites. In the second part, presented at the Far East Film Festival in Udine in the presence of the director and simultaneously with the release in Japanese cinemas. We find him struggling with his “cleaning” objectives, while the aliens in question continue happily to feed on human beings and seem to organize themselves for the invasion of the planet.
Yamazaki Takashi (winner at the Far East Film Festival 2014 with the film Eien no Zero, The Eternal Zero), continues the saga based on the manga of Iwaaki Hitoshi with a film less action and horror of the first. Unfortunately, at times, a bit ‘more boringly , in which the hero pauses to reflect, in the first place on the changes brought about by the presence of the alien “hooked” to his cells.
A bit ‘to the Blade, the boy fights the “enemy” with the awareness of having it in his own tissues, in his own blood and perhaps, the question for the poorest Shinichi chilling, in his soul. Around him a world infected with bad intentions (but only the aliens are carriers …?), Like those of Goto (played by Asano Tadanobu), a very powerful leader parasite with which the police will entertain in the end in a daring showdown. I appreciated the clash between the alien that transforms in real time any part of his body (do not get me wrong, it is not Tetsuo …) in weapons and shields, with a policeman almost from another era in raincoat, detective Hirama, played by Kunimura Jun. Universes really compared.
Even among the parasites, however, there are those who choose the path of non-homologation to their group and try to experiment, ending badly (how similar are these aliens …): Professor Tamiya engages with motherhood, wants to understand what you treats and while philosophizing on “what sense has our existence, that we do here” is discovered helpless in front of a newborn who fearlessly plays with her and smiles at her. Beautiful sequence in which looks up from the child and is reflected in the glass in front: even an alien parasite devourer of human flesh must come to terms with his own unconscious …
This is in my opinion the positive aspect of the film by Yamazaki Takashi: he moves in that gray area between good and evil, suggesting that in his characters the two aspects live together. Which is very Japanese and explains why the film had no luck in the United States, where instead the public needs the good and the bad to be clearly and definitively identifiable.
Here, on the other hand, the problem of a possible coexistence (with bloodthirsty aliens) arises all the time? Why not, since in many respects they do not seem so different from us), and in the end we question the nature of the human being.
Certainly Shinichi and Migi build a nice relationship, indeed they merge to the point of becoming a unique character, which has the different facets of any creature in the universe. And the way they prepare miso soup together, in one of the film’s most hilarious sequences, sums up more than any philosophical analysis the concept of a relationship that works.
[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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