Director : Yamazaki Yutaka
screenplay : Yamazaki Yutaka, Satō Yūki
Running Time: 104 min
Release Date: July 10, 2010.
PIA: Comments: 3.5 / 5 At the exit of the rooms: 70/100
Score ★★★☆☆ 3/5
Two sisters with different fathers. Hiroko, the eldest, apparently more solid, is employed; Mina, the smaller, more unstable, does the makeup artist. One day Mina looks at Hiroko home to escape from her abusive boyfriend. Start a sketch in the name of coexistence of two types of indifference: Mina is superficial and casual, Hiroko is detached and introverted. Actually Hiroko has a secret: in bed, in the bathroom, to the sea, makes love with inflatable torso of a mannequin. The object of desire and sexual satisfaction is a rubber man without head, arms and legs: a chilling depiction of the absence of love. In this microcosm dehumanized, complicated by the fact that the arrival of Mina disturbing practices of Hiroko, gradually emerge pieces of the lives of two women: trauma, disappointment, deviances, standardization failed attempts. But precisely define the existential and psychological picture of the stars, such as an image that is progressively blurred focus, allowing them, in parallel with the joint perception of the narrative context by the viewer, to find the strength to try to live again. As well as in the communication and description of the desert of the pathologies folds there is no shadow of directorial complacency, just as the final opening is free from entusisamo and still more rhetoric. It ‘a way, the least worst, to try to be human.
Un’esordio significant, that of seventy Yamazaki Yutaka. Director of photography in almost all of the film Hirokazu Koreeda and occasionally other relevant directors (Kawase, Shiota, Tanada), passes for the first time as a director with this work that, more than being directly liable towards Koreeda (the reference to K ū ki ningy ō , Air Doll, is discounted), it seems to have metabolized the calmness objectified the narrative of existences. Unlike Koreeda that, except Aruitemo aruitemo (Still Walking), often has an extra-real touch or adds elements here and there lyrical ideas, Yamazaki is more adherent to the daily dynamics of the characters. Without speaking of realism, we know not to exist in the cinema, the effectiveness of this documentarism of soul folds is remarkable.