* KOSHIKAWA Michio
* FUKASE Kazumi
* HOYAMA Kenichi
* MITSUSHIMA Hikari AIZAWA Tomoko
* AYANO Go KINOSHITA Ryota
* KOBAYASHI Kaoru KOSUGI Shingo
* Original Story: SETOUCHI Jakucho
* Screenplay: UJITA Takashi
* Cinematography: KONDO Ryuto
* Editor: HORI Zensuke
* Music: Jim O’ROURKE
THE KLOCKWORX, VAP, Plandas
Release Date: August 31, 2013
Running Time: 114 min
Genre: Drama, Feature
Screening Format: DCP
Screen Size: American Vista (1: 1.85)
Sound Processing: Dolby SR, 5.1 ch
Subtitle: English, DCP
For adaptation of the eponymous novel by Setouchi Jakucho, a bestselling author and Buddhist nun in her nineties. For this adult romance, director Kumakiri Kazuyoshi reteams with Jim O’Rourke after their first cooperation for “Sketches of Kaitan City” and also welcomes back regular
However, after she reunites with Ryota (Ayano Go), the man she once eloped with, Kobayashi Kaoru (Kobayashi Kaoru) collaborators Ujita Takashi and Kondo Ryuto Writer Shingo (Kobayashi Kaoru) has a wife and child, but has lived for years with Tomoko (Mitsushima Hikari) she enters into another affair with him and then aware of the emotions lurking deep inside her.
Kumakiri Kazuyoshi’s film is based on the well-known novel with the homonymous title of Setouchi Jakuchō, based in part on experiences lived by the author herself, who became in 1973 a Buddhist nun and published in the 1960s.
History focuses on a love triangle. For eight years, Tomoko has had a relationship with the writer Shingo, who divides his time between the lover and the family. She has never asked him to leave his wife and seems to have accepted the raid that has been created between them. Suddenly, however, Ryota reappears from the past, the man Tomoko had loved and who had already undermined his previous marriage. The boy’s return puts Tomoko in a position to question his relationship with the writer.
“The habit is stronger than any bond or affection”.
Until the (new) appearance of Ryota in the life of Tomoko, this seems to be the philosophy of life of the woman, which she herself states.
Ineffective one wonders from the beginning why he shares his life with Shingo. It does not seem that the latter maintains it, given that we see it on several occasions intent on creating and working on its creations on cloth. It does not even seem that it unites them with a particular erotic understanding. So why do you agree to go on living with a man who offers you a half-way relationship, which comes and goes from your home, splitting up with your “regular” family? Perhaps for the same reason that she declares: the habit is comfortable, it is comforting and gradually becomes a cage from which one no longer wants to go out.
The director, after having chosen to tell in the elliptical manual the moment in which the former lover appears at the door of the house where Tomoko and Shingo live, he stops with intense close-ups, and long and suspended times, on the devastating effect of his return. Influenced by the great masters of classical cinema, such as Ozu Yasujirō and Naruse Mikio, Kumakiri Kazuyoshi made his debut in 1997 with the horror splatter Kichiku, who, together with the following Hole in the Sky in 2001 and Antenna in 2003, deals with the theme of pain, of violence and suffering.
In Sketches of Kaitan City of 2010, he focused on the difficulties of daily life in a community in Northern Japan, using documentary style in some scenes; not so in this last work, in which he reconstructs in detail the environment of the Shōwa period (1926 – 1989), and uses flashbacks, integrating intense dreamlike scenes with real ones.
Stupendous close-ups dedicated to his heroine, trying to catch their gaze, even when, as in the final, waiting to meet again Shingo, is beyond the confines of the frame, towards a possible future.