Crying 100 Times ~Every Raindrop Falls~ (100 kai nakukoto,100回泣くこと)
2019年3月4日
The Kingdom of Dreams and Madness (Yume to kyoki no okoku,夢と狂気の王国)
2019年3月18日

The Wind Rises (Kaze Tachinu,風立ちぬ)

The Wind Rises (Kaze Tachinu,風立ちぬ)

[ Directed by ]
MIYAZAKI Hayao
[ Produced by ]
SUZUKI Toshio
[ Cast ]
• ANNO Hideaki HORIKOSHI Jiro
• TAKIMOTO Miori SATOMI Nahoko
• NISHIJIMA Hidetoshi HONJO
[ Staff ]
• Original Story: MIYAZAKI Hayao
• Screenplay: MIYAZAKI Hayao
• Music: HISAISHI Joe
• Theme Song: ARAI Yumi
[ Production Company ]
Studio Ghibli, Nippon Television Network, Dentsu, Hakuhodo DYMP, Walt Disney Japan, Mitsubishi, Toho, KDDI
[ Distributor (Japan) ]
TOHO
[ Production Studio ]
Studio Ghibli

Release Date: July 20, 2013
Running Time: 126 min
Genre: Drama, Romance, Animation
Color: Color
Screening Format: DCP
Screen Size: American Vista (1:1.85)
Sound Processing: Mono
Subtitle: English
[ Story ]
A film by maestro Miyazaki Hayao, who won Best Animated Feature at the 75th Academy Awards for Spirited Away. It presents a finely crafted portrayal of the dreams, reality, and romantic fortunes of a young aircraft designer obsessed with airplanes, a character reverently based on two real-life figures: Zero fighter aircraft designer Horikoshi Jiro, and the author of the novel “Kaze Tachinu”, Hori Tatsuo.
Jiro (voice: Anno Hideaki), who has loved airplanes since he was a boy, enrolls at a university in Tokyo to achieve  his dream of becoming an aircraft designer. One day on board a train, he has a chance meeting with a girl named
[ Official Site ]
kazetachinu.jp
[ Film Festivals, Awards ]
• 2013 Venice International Film Festival, Competition
• 2013 Toronto International Film Festival, Special Presentation
• 2013 Asia Pacific Screen Awards, Nominated

A story freely taken from the life of Horikoshi Jirō, already illustrated by Miyazaki in a manga in 2009 and based on the novel by Hori Tatsuo of 1936 aeronautical designer who made, among other models, the famous Mitsubishi A6M, employed by the Imperial Navy Japanese during the Second World War and also used in numerous raids by the kamikaze. The film traces the life stages of the protagonist, dwelling on the crucial events that marked it particularly, such as the strong myopia that he suffered that led him to become an engineer instead of a fighter pilot, the meeting in dream with the designer Giovanni Battista Caproni and that in real life with the beautiful Hanako, known during the great Kantō Earthquake of 1923 and later became the great and tragic love of his life.
Presented in competition at the 70th Venice Film Festival in Venice 2013, The wind rises marks the farewell of Miyazaki Hayao to the world of animation. The long artistic journey of the Japanese master – half a century of success obtained with sacrifice and dedication – stops here, but, as the last chapter of this path, Miyazaki chooses not to put giant puppets, witches or flying cats in the center, but a story focused on a historical and somewhat controversial character, as evidenced by the many controversies in the aftermath of the film’s release. The subject “with his feet on the ground” contributes not a little to make this work a sort of big oxymoron with respect to the predominant theme of flight or in any case compared to the pressing and inevitable stylistic value of the master who, in one way or another, elbows within each sequence. So there are all those elements (mostly autobiographical) that have distinguished and defined Miyazaki’s filmography over the years, such as the flight (just mentioned and in this absolutely central film), the disease, the war and the typical Miyazakian characters, simple, pure in their coherence and motivated by supreme ideals to be pursued with dedication. To return is also the interpenetration between oneiric element and reality, here more explicit and clear than the memorable sequences seen in My neighbor Totoro (Tonari no Tororo, 1989) or Porco Rosso (Kurenai no Buta, 1992) but which still reserves strong suggestions – as in the case of the hyperbolic representation of the earthquake that brings the two protagonists together, during which the terrain seems to breathe like a living being awakened by a long sleep. However, the film does not take off, stranded as it is in the swamp of aeronautical technicalities that weigh it down and with its macro chapters with the protagonist in the center (the planes and their design, the oneiric element made of dialogue with Giovanni Battista Caproni; poignant love story with Nahoko) closed in compartments ponds and treated practically one at a time without almost mutual interactions. The wind rises and then becomes a sort of testament, a solemn farewell with which Miyazaki greets his fans, accompanied by a heavy veil of sadness. A sadness, however, that does not seem to derive from an understandable feeling of melancholy, but from a kind of awareness acquired with age and that does not seem to leave many glimmers of light. Because the story of Norikoshi is that of a boy who pursues his great dream without ever giving up, finally succeeding in giving him a shape, or that plane so fast and perfectly balanced, the same that however will contribute largely to the killing of a varied number of people in the war years, a factor that, whether we like it or not, greatly reduces the spirit of the work. So it is natural to ask why Miyazaki chose this film to say goodbye, how much in it there is of his past life and especially how much of the disillusion that is breathed throughout the story. Fifty years flew away like a breath of wind, so fast as to seem like a dream. And I think the teacher has realized that the moment of awakening comes for everyone.
[Katsuyuki Nakanishi]

CD45EC86-8106-4E1E-8990-A8E8484537FE
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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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