Cannonball Wedlock (Konzen Tokkyu, 婚前特急)
Initiation Love ( イニシエーション ラブ )

The Pinkie (Samayou koyubi,さまよう小指 )

The Pinkie (Samayou koyubi,さまよう小指 )
[ Directed by ]
[ Produced by ]
[ Cast ]
* OZAWA Ryota Ryosuke
* WAGATSUMA Miwako Momoko
[ Staff ]
* Creative Producer: KAGEYAMA Shu
* Screenplay: TAKEBA Lisa
* Cinematography: KUGIMIYA Shinji
* Sound Recording: KOMAKI Masato
* Lighting: SUGIMOTO Shuji
* Music: FUJINAGA Kentaro
[ Production Company ]
[ Distributor (Japan) ]
S · D · P

Release Date: September, 14th, 2014
Running Time: 64 min
Genre: Comedy, Drama, Science Fiction / Fantasy, Romance, Feature
Color: Color
Screening Format: Blu-ray, DVD, quick time data
Screening Format with Subtitles
· English (Blu-ray, DVD, quick time data, HDCAM)
[ Story ]
The debut feature from director Takeba Risa that won the 2014 Yubari International Fantastic Film Festival’s Grand Prize. It utilizes a blend of colorful imagery and black humor to nimbly render the fantastic story of a young woman living with a clone of a man she loves.
Momoko (Wagatsuma Miwako) has chased after Ryosuke (Ozawa Ryota), her first love, ever since she met him at the age of five. Ryosuke’s little finger after it is cut off by a yakuza, and surreptitiously uses it She calls it “Pinkie,” and secretly begins a relationship with it.
[ Official Site ]
[ Film Festivals, Awards ]
2014 International Film Festival Rotterdam
2014 Yubari International Fantastic Film Festival, Fantastic Off-Theater Competition, Grand Prix & Cinegar Award
2014 Los Angeles Asian Pacific Film Festival
2014 Taipei Film Festival
2014 Puchon International Fantastic Film Festival
2014 Sitges International Fantastic Film Festival of Catalonia
2014 Warsaw Film Festival

Momoko is a strange stalker. Considered an ugly hopeless, since he’s five years old loves and pursues (persists) Ryosuke. You can even make a facial plastic to please you more but in vain. On the contrary, Ryosuke engages in a story with the fiancée of a mafia boss who uncovering it, forces Ryosuke to cut his little finger according to the yakuza tradition used to pay a slap. Without explaining too many passages, Ryosuke’s little finger finishes with Momoko, who uses it to create a clone of the beloved. He calls the clone Koyuki (mignolo) and begins to live with him. It seems to have finally what he has longed for all his life but the real Ryosuke discovers the “Tresca” and takes the other himself to make him work in his place. Momoko does not know which of the two Ryosuke will follow and support.
The events follow the mid-pop and mid-way of many manga and video games, ranging from horror-fiction fantasy elements from B-movies worthy scenes to the home-made yakuza in a perfect Barbie house style. Amalgam will certainly be wanted but the outcome is certainly not happy.

At the height of cinema, there was in Japan the so-called nansensu (nonsense) genre. The nansensu then went on, more as an inspiration than as a true thread, finding erogenous (erotic-grotesque) inserts along a line that, to somehow force the interpretation, comes to this day. An example of today’s often declined “homemade” splattering could be Iguchi Noboru. His films are certainly absurd, but all in all, assure a narration sequential precisely through the logical jumps and the often overwhelming cut of individual scenes.

This is exactly what is lacking in Takeba Lisa’s thirty-year-long commercial film at her first fiction film after her experiences in writing game stories and cell phones. And indeed the origins (and their limits) are unfortunately clearly seen. On the one hand, unlike the Iguchi films, one does not perceive that fun in “making the film” which is indicative of some genuinity. On the other hand, the lack of coherence and the total indifference to the concept of continuity in video games and even in cellphones are probably not decisive, but in a film it should be. If they are missing, not by author’s choice, but by intellectually silent, any sketch of scenes that would be intriguing do not make originality. Not so obvious are the festival organizers. The film is in Rotterdam (World Premiere), New York (Asian Film Festival and Japan Cuts), Warsaw, Puchon, Sitges and last but not least, won the Yubari International Fantastic Film Festival.
[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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