[ Directed by ]
[ Produced by ]
* ODAKE Satomi
* SUZUKI Yutaka
[ Cast ]
* YAKUSHO Koji FUJISHIMA Akikazu
* KOMATSU Nana FUJISHIMA Kanako
* TSUMABUKI Satoshi ASAI
* NAKATANI Miki AZUMA Rie
* ODAGIRI Joe AIKAWA
[ Staff ]
* Chief Executive Producer: Tom YODA
* Chief Executive Producer: SUZUKI Yutaka
* Chief Executive Producer: MIYAMOTO Naohito
* Chief Executive Producer: NAKANISHI Kazuo
* Original Story: FUKAMACHI Akio
* Screenplay: NAKASHIMA Tetsuya
* Screenplay: MONMA Nobuhiro
* Screenplay: TADANO Miako
* Cinematography: ATO Shoichi
* Lighting: TAKAKURA Shin
* Sound Recording: YANO Masahito
* Music Producer: KANAHASHI Toyohiko
* Music: GRAND FUNK INC.
[ Production Company ]
GAGA, Licri, GyaO !, TSUTAYA
[ Distributor (Japan) ]
[ Production Studio ]
Release Date: June, 27th, 2014
Running Time: 118 min
Genre: Drama, Feature
Screening Format: DCP
Screening Format with Subtitles
· English (DCP)
[ Story ]
An Adaptation Of Author Fukamachi Akio’S Bestselling Novel “Hateshinaki Kawaki” (Never-Ending Thirst) By CONFESSIONS Director Nakashima Tetsuya. Stylish Visuals Evoke The Insane Relationship Between A Violent Father And His Devilish Daughter. Newcomer Komatsu Nana Holds Her Ground Impressively Against A Cast Of Seasoned Actors Including Yakusho Koji.
Former Police Detective Fujishima (Yakusho) Learns From His Ex-Wife That Their Daughter Kanako (Komatsu) Has Gone Missing. When He Begins Making Inquiries Among Her Acquaintances, Her Shocking True Nature Comes To Light, And His Actions gradually become more extreme.
[ Official Site ]
[ Film Festivals, Awards ]
2014 Toronto International Film Festival, Vanguard
2014 Fantastic Fest, Fantastic Feature Competition, Best Screenplay
2014 Sitges International Fantastic Film Festival of Catalonia, Official Fantastic Competition, Best Actor Award
Fujishima Akikazu is a former policeman who left his police job and divorced his wife after having beaten her lover in blood. Reduced in a state of semi-alcoholic and tormented by the memories of his wife and especially his seventeen-year-old daughter Kanako who has always neglected. One day he receives a phone call. The tearful wife begs him to help her find Kanako, who has been gone for a few days now. In her bedroom she finds amazing drugs and forensics revealing that something else is hiding under the angelic air of the girl.
Nakashima according to his psychedelic and patchwork style, makes a structure and develops the feature film with the parallel unfolding of the present story, that of Fujishima’s search for her daughter, alternating with continuous flashbacks of the past. The recent past where the spectator is revealed true life of Kanako and his world. Not only the story told over several temporal levels, but the same action is expressed with a bearing assembly, a continuous dance camera, colored filters that change one after the other, copious spattering of blood that turns into animated screens, up to even real animated sequences, shot by Studio 4C, which take place underwater to represent the inner world of Ai, the boy who falls in love with Kanako. The violence is continuous, from the first scenes in which we see the three massacred bodies of the victims launching the mystery, to the continuous beatings that Fujishima inflicts on women and girls he encounters and interrogates, to the yakuza who in turn reduce it very badly, up to the scenes of the last part of the film in which Nakashima touches and touches the genus gore. At a certain point, however, the violence ends up getting tired given its gratuitousness, especially when it takes on almost paroxysmal and unreal tones, this is the weakest part of the film, when it is not clear where Nakashima wants to go to make the film almost in a sort of unpretentious b-movie. Fortunately, the film is raised in the end, when it comes out that violence is above all that everyone in one way or another suffer from their lives and their soul, all the protagonists are as impregnated by a sense of desperation without a path out in which they struggle without hope of escape, from Fujishima, to his wife, to the young boys and of course to Kanako whose life, however, always seems to be suspended in a sort of ethereal/demonic limbo. The character of Kanako played by the debutant Komatsu Nana is one of the best things in the film because the sense of unreality that surrounds the girl is amplified by the fact that for almost the whole film we see it only when it is remembered or told by others and not directly in the present time of the film. Noteworthy is also the performance of Yakusho Kōji that manages to bring his character from an initial position already deteriorated, to really touch the bottom, insanity, guilt committed, daydreams and violence suffered and perpetrated that the undo of his little humanity of departure.
Typical of the pop-acid-psychedelic style of the Japanese director, already seen in Kamikaze Girls, for example, are when the scenes set in the disco-party, inserted almost subliminally during the story of the boy in love with Kanako, LSD, speed and more It has more or less spice that supports this mix lethal, even visually, which often turns to the cartoon.
So far what concerns the compositional and visual style of The World of Kanako. Without falling into the spoiler, the story can be said to mean that while starting from good assumptions and ideas, the isolation of young people, the disinterestedness of parents towards them, the almost dreamlike emptiness in which the adolescent protagonists move and even the diaphanous wickedness of youth, missing the quid that could turn a good movie into something more. The representation of moral, ethical and existent chaos is, as written above, very well visually rendered, fits perfectly into the fabric and the rhythm of the feature itself, but in the long run ends up repetitive and moves, like the characters that animate the film, only on the surface. There is a lack of depth, not that superficiality is necessarily negative, and sometimes it is more significant, otherwise said, there is no movement of the film that reveals and explores something more. The film is beautiful, on this there is no doubt, a real feast for the eyes, but it is the beauty of the colors of the rainbow on an oil stain, it is patina that does not remain too attached to the vision, at least for who writes, but perhaps it will be a matter of age, for a young audience not too accustomed to Japanese cinema The World of Kanako could be a real bomb.
To be remarked then also the continuous winks at the police cinema and exploitation of the seventies, split screen, the same dirty grain of the film, the very first plans, violence and brutality almost free, influence that is declared and made explicit since fanciful headlines and that is naturally filtered and interpreted in an original way by the sensitivity of Nakashima.