[ Directed by ]
[ Produced by ]
• KITAJIMA Kazuhisa
• EDAMI Yoko
[ Cast ]
• KAMIKI Ryunosuke MAEDA Ryoya
• HASHIMOTO Ai HIGASHIHARA Kasumi
• OHGO Suzuka SAWAJIMA Aya
[ Staff ]
• Original Story: ASAI Ryo
• Screenplay: KIYASU Kohei
• Screenplay: YOSHIDA Daihachi
• Produce: SALUT Takahiro
• Music: KONDO Tatsuo
• Cinematography: KONDO Ryuto
• Lighting: FUJII Isamu
• Sound Recording: YANO Masahiｔo
• Production Design: KASHIYAMA Chieko
• Decoration: YAMADA Yoshio
• Editor: KUSAKABE Mototaka
[ Production Company ]
“Kirishima” Film Club
[ Distributor (Japan) ]
[ Production Studio ]
Release Date: August 11, 2012
Running Time: 103 min
Screening Format: 35mm,DCP/ DCP,HDCAM (English subtitles)
Screen Size: Cinema Scope (1:2.35)
Sound Processing: Dolby Digital
[ Story ]
Directed by Yoshida Daihachi, whose
FUNUKE Show Some Love, You Losers!
was an official selection of the Cannes Film Festival’s Critic’s Week,
The Kirishima Thing
is an adaptation of Asai Ryo’s bestselling novel. It became an extraordinarily long-running hit in Japan as the word spread it being a coming-of age movie for a new generation of filmgoers, and it also went on to win numerous film awards.
A rumor that Kirishima, the most popular student in school, is going to withdraw from after-school activities sends the other cool kids into an uproar. This has little effect on uncool film club member Maeda (Kamiki Ryunosuke), who begins to shoot a zombie movie. The emotions of the school’s various student factions gradually intersect, and during the shooting of Maeda’s movie, little incidents occur that sway their hearts.
[ Official Site ]
In a Japanese high school the school volleyball team leader suddenly leaves the team and disappears. The news captures comrades and incredulous companions. The search for the reasons for abandonment and the person himself alter the rhythms and relationships within the school. In particular, Maeda (Ryunosuke Kamiki), passionate about cinema and attending the film club of the school, sensing the tension around him, begins to shoot a film with an 8mm received from his father, while Kasumi (Hashimoto Ai), a girl with sensitivity higher than that of her frivolous companions, she questions her role in the group and begins the slow process of emancipation towards maturity.
In a nutshell, the plot is all here. The skill of the director – already known and appreciated for the original Funuke domo, kanashimi no ai wo misero (Funuke Show Some Love, You Losers!) And for the excellent Permanent Nobara – consists in making the atmosphere and the infinitesimal facts of the school object of interest to the viewer almost as if it were a thriller. It achieves this result with a skilful use of the montage, thanks to which it picks up and mounts in sequence the same topical scenes taken from the view of a different person present on the scene or around it. This stylistic choice gradually creates a kaleidoscopic vision of the small facts inside the school and progressively shifts the focus from the disappearance of Kirishima to the portraits of the other boys. So we see the stalwart Risa (Yamamoto Mizuki), Kirishima’s girlfriend who looks like a dispossessed queen; Aya (Ohgo Suzuka), a shy saxophone player, silently in love with the boy sitting in front of her; the superficial Sana (Matsuoka Mayu), engaged to the boy with whom Aya is in love.
The second part of the film can not maintain the expressive tension and the character analysis of the characters dissolves into a more conventional vision of the environment, but the system remains original and the vision is pleasant. At the end of a movie where everything and nothing happened, Yoshida seems to tell us, Kirishima does not need it, the other guys are as interesting as him. The medium of this progressive shifting of the narrative center of gravity is Maeda, the director of Yoshida’s nuce and easy alter ego. It is cinema that makes it possible to observe things from multiple and non-usual points of view and to see what is apparently unseen. What we see here in the last instance is a “tramautico” event which, in shaking the structure of a society like the scholastic one, paints with wise sensitivity fears, anxieties and desires in approaching the thin line of maturity. Icon of this coming-of-age atmosphere is Hashimoto Ai, whose rigid virginal shyness tends to loosen only in some emotionally topical moments.