Here Comes the Bride, My Mom! (Okan no yomeiri,オカンの嫁入り)
The Eternal Zero (Eien no Zero,永遠の0)


[ Directed by ]
[ Produced by ]
[ Cast ]
• YAMADA Kinuo Eiko
• HINOI Asuka Kaoru
• KIMURA Tomoki Daisuke
[ Staff ]
• Screenplay: SHINOZAKI Makoto
• Screenplay: SAKAI Zenzo
• Cinematography: AKIYAMA Yuki
• Sound Recording: DODO Yasuyuki
• Editor: IZUMI Yoko
[ Production Company ]

Release Date: April 23, 2016
Running Time: 111 min
Genre: Feature
Color: Color
Screening Format: HDCAM,Blu-ray
Screening Format with Subtitles
・English (HDCAM, Blu-ray)

[ Story ]
A drama depicting with a suspense-thriller touch the conflict between two emotionally hurt girls set against the anxiety blanketing all of Japan in the aftermath of the Great East Japan Earthquake. A ninety-nine-minute “Another Version” in which some of the characters and developments differ was also screened.
It is three years after the Great East Japan Earthquake. Kawashima Eiko (Yamada Kinuo), a psychology professor researching precognitive dreams concerning the earthquake, continues to see dreams of her lover who died in the catastrophe. Meanwhile, drama student Mizutani Kaoru (Hinoi Asuka), has a bizarre nightmare while rehearsing a play about the disaster.
[ Official Site ]
[ Film Festivals, Awards ]
• 2014 Vancouver International Film Festival
• 2014 Busan International Film Festival, A Window of Asian Cinema
• 2014 Tokyo FILMeX
• 2015 San Sebastian International Film Festival, New Japanese Independent Cinema
• 2015 International Film Festival Rotterdam
• 2015 Nippon Connection
• 2015 Casa Asia cinema Week

Important author of the nineties of Japanese cinema, those of rebirth, especially for Okaeri (Welcome Home, 1995). History of the difficulties of a couple in front of the drama of schizophrenia and Wasurerarenu hitobito (Not Forgotten, 2000) on the vicissitudes of three World War II veterans, Shinozaki Makoto then partially eclipsed in the first decade of the new century. Recently, however, his signature has returned to peep with small and independent works that seem to testify of a certain willingness to work on the margins of industry. Already Are kara (Since Then, 2012), created in collaboration with the students of the Film School of Tokyo, tackled from an unprecedented perspective based on the confusion of reality, memory and imagination the drama of the tsunami of Fukushima. The main aspects of that film are found in Sharing, a work that explicitly focuses on the psychological consequences of the disaster, which has as its protagonist a young professor of psychology, Eiko, whose companion, Kiyoshi, disappeared following the earthquake.
The film opens with images of the woman who, followed by a camera behind her, walks through the corridors of a building until she glimpses her boyfriend, who suddenly stops, smiles at her and then disappears into thin air. It is a dreamlike sequence, with a hidden character, that will reveal itself as such to the viewer only with the images of Eiko’s awakening. It is the first of many other similar sequences, of other camouflaged dreams that will give the film an almost fantastic dimension, sometimes even by thriller or horror. Here is undoubtedly the first characteristic sign of the film that continually mixes realism with the fantastic, documentary tones and dream divagations, assuming a spectator available to move in different orders of reality.
Along with Eiko, who conducts her research on the psychological consequences of the disaster, consequences of which she is a victim, even without having taken part in the first person, other characters take shape in the course of the film. Among these are the same Kiyoshi, evoked in the dreams of the protagonist and shown through video footage on his research activity; Kaoru, a young actress who works at a show on the tsunami and who, together with the other members of the troupe, wonders about the possibility of telling what was not attended and a disquieting boy, the victim of a kind of split personality in one of the most intense scenes of the film he sees himself surrounded in a library by his own double which will end in reality? In dream? by organizing an attack that will jeopardize the lives of numerous students.
At least one other scene in the film is worth mentioning the conversation between Eiko and Kaoru, built in the manner of the famous one between Bibi Andersson and Liv Ullman in Persona by Bergman, both for the use of rhymed editing, and for the final image showing half of the faces of the two actresses, side by side to indicate the sharing of the same drama. At the end of the film, the dreamlike, mnemonic and fantastic dimensions take over, on a journey to the past, where the nuclear power plant takes on the features of a time machine.
[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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