【Eriko Hatsune × Kengo Koura co-starring Mitsuyo Kadota’s Novel “Moon and Thunder” Live-movie】2017年3月13日
The movie “Three Lights” Will be exhibited at the 41st Hong Kong International Film Festival’s Firebird Awards YOUNG CINEMA COMPETITION2017年3月15日
Director and screenplay: Iwai Shunji
Photography: Kanbe Chigi
Music: Kuwabara Mako
•Natsume Nana Wada Soko
Production: Sugita Shigemichi, Shunji Iwai, Muneyuki Kii,
Miyagawa Tomoyuki, Mizuno Masashi
Running time: 180 minutes
Date Release: March 26, 2016
[ Official Site ]
Nanami (Kuroki Haru) meets a man through the network and soon marries him. no relatives and not to deface rent extras at a “risolvitutto” agency run by Amuro (Go Ayano). A short time later, Nanami thought that her husband had an affair and again caters Amuro agency responsible for carrying out the investigations on the husband. The situation is complicated – I try not to give away too much plot – and Nanami is forced to look for a house and a job. It will be the ubiquitous Amuro to propose them to live in a seemingly abandoned house along with one of the extras who had attended his wedding as fake relative. Between the two women, both marked by the harshness of life despite his young age, there is a large emotional empathy that borders on love. But the reality is very different from appearances.
- Iwai Shunji, after the successes of the nineties, such as Love Letter and Swallowtail, and even All About Lily Chou-Chou in 2001, has taken a long break from directing, interrupted only by a documentary about Fukushima and English movies of the Vampire 2011. Now back in a fiction film in good standing of a fantastic story written by himself and written.
The outcome is ambivalent and sometimes slightly deja vu, even though difficult to describe in detail so as not to reveal a plot that is based on the continuous discoveries of new meanings of the story. On the one hand, issues such as the dissolution of the separation between life and work, or the power to use people instrumentally through the network are intriguing. On the other, the revival decades later, even with the necessary updates of his neo-romantic style, complete with a poignant classical music, lyricism and use of slow motion in the important moments, leaves a little ‘things as they are. Ultimately, what is perhaps most striking is the sense of deep solitude that the film conveys a sense of loneliness, yes, updated to the times of the great ease of connection with others offered by the network. Connection and communication are two things more different.
Despite the fact that in many scenes the packaging is a bit ‘end in itself (and the three-hour version of “director’s cut” are frankly a bit’ so many), the fact remains that Iwai goes round and the film as a whole is he sees. We hope this is the beginning of a new cycle intended to improve.
Great performance by Kuroki Haru, while maintaining its typical stepped profile and shy to the point of not being able to hear his voice (his school to give students defiantly a microphone), deploys its leading capacity, confirming its position as one of the great young actresses of contemporary Japanese cinema.[Katsuyuki Nakanishi]