Sky’s Thieves (Aozora dorob ō,青空どろぼう- )

Director : Katsuhiko Abuno and Yuuji Suzuki
Photography : Shioya Hisao
Editing : Okuda Shigeru
Narration : Nobuko Miyamoto
Music : Honda Toshiyuki
Sound producer : Kozue Okada
Running Time: 94 mins
Release Date: June 18, 2011
[Official Site]

In a time when the Fukushima accident seems to have not only open people’s eyes about the real risks of nuclear power but, so perhaps even more dramatic, ripped through the box of horrors where they form the structures and relationships that hold together politics, business, media and oligarchic concentration, the documentary genre necessarily ends up acquiring even more power and attention.
If the various festivals of documentaries on held around nuclear power for Japan are a necessary and welcome event but does not raise no surprise, as the return in the programs of some theaters of Into Eternity , it is also interesting to note the keen interest in the work that have the strength to problematize the dark side of the economic progress that has determined and shaped, for better or for worse, the Japanese company over the last 60 years, including the accident in Fukushima and the nuclear project the Japanese in general are just the the most visible tip.
The case analyzed by Aozora Dorobo is symbolic for several reasons, first and foremost for the content, the so-called case of poisoning in Yokkaichi air pollution from refineries starting after the war. Secondly we have to see how this work, filmed by a TV team of Tokai, have been used many archive materials from as many television documentaries made since the seventies always issuer Japanese. Documentaries, seen in an exhibition almost simultaneous exit of Aozora Dorobo , have proved true gems, with experimentation and poetry tips that should be analyzed and exploited.
Yokkaichi is a city located in Mie prefecture where large industries founded during the war have been transformed after the Second World War, in refineries during the sixties contributed to runaway progress of the area, not far from Nagoya. But at the same time they have stifled many areas of the city, where due to the malevolent fumes there was a real air poisoning that has led to an epidemic of asthma. The documentary tells us all this through the amazing documentation of a union leader / activist era, from the early seventies to the present day, with a persistence that is unbelievable, kept diaries, talked to people, and monitored almost constantly area. What immediately jumps to the eyes, thanks to the documentary archive material, is the inevitable leap occurred in the mid-seventies when the big fights and protests, having brought to actual improvements in the situation, have almost disappeared, at least in their gross appearance. And ‘the spirit that has changed, a sign of the times that you are, to use a simplification, depoliticized: how can we forget the fate of the struggle against the Narita airport to Sanrizuka, documented dall’Ogawa Pro until the early seventies.
This huge shift in attitude occurred in 30-35 years is manifested in all its cruelty in a scene from the documentary when the eye of the camera shows us how it is now operational in the evening hours on a boat excursion that allows the paying audience ” enjoy “the bright panorama of only so raffinerie.Non the impetus of social participation was very low with the industrial plant which is not nearly as an enemy to fight, but the achieved total spectacle stage makes this most important documentary of that it seems. Capturing and showing us 40 years of changes in Yokkaichi, manages to exemplify the tensions and issues related to industrialization that moved the Japanese war.
What is immediately evident is the injustice to the common people and the impotence in front of the biggest choices and that is irreversible proclaim. The documentary approach is this, quite traditional so, from a stylistic point of view. But the topic and themes that touches are too big and go beyond the documentary itself. While the current pollution complaint is rightly placed in the foreground, they scroll on the documentary bottom, forming the base, changes in the 30 years and more taken into account. At the end of the vision you leave the room with the desire to bring out the truth about the conditions and the actual pollution, but also with a sense of serene almost despair, the unresolved unrest after being put in front of such complex movements, after having seen the unfolding of the various forces that make up the historical movement and leading up to the present time.
【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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