Himeanole theatrical trailer
It’s Keiko / I Am Keiko (Keiko desu kedo,鍦瓙銇с仚銇戙仼)

Utsushimi ( 銇嗐仱銇椼伩, Utsushimi)


Direction, subject and screenplay: Sono Sion
Photography: Yasuhiro Kobayashi, Sono Sion, Suzuki G艒
Special Effects: Yoshihiro Nishimura
路 Arakawa Shinichir艒
路 Nobuyoshi Araki
路 Maro Akaji
路 Sono Sion
路 Takuji Suzuki
路 Sawada Yukiko
Running Time: 108 min
Release Date: December 16, 2000

PIA: Comments: 4/5 of the rooms exit: 80/100

Score: 鈽 鈽 鈽 2/5

These characters represent the body, the sea, the look, the emptiness with the kind of poetry in motion, through the decomposition and superimposing syllables with which you read some ideograms. , Death. In today’s Japanese language, the word “utsushimi” is not used currently, if not, indeed, poetry and indication the body in the present moment. To represent the beauty and transience of the body and its joys, it is combining the Basic story of love with high school girl who discovers the physical desire with the filming of the work of teachers in the arts that relate to the body, its use and its representation.

Maro Akaji is the most important living master of but 艒, the transgressive art movement born in the late 50s which is characterized by the exclusive use of the body as an expressive medium through playful representations but also violent, faces painted white, iperespressive grimaces borrowed from the classical tradition of Japanese theater, alternating movements slow and agitated bodies dissolved to capacity.

Arakawa Shinichir 艒 is a well-known designer in the world for its thematic collections set in specific areas of Tokyo. Just in 1999, when it was filmed, he began designing its work on a more conceptual level, creating garments with a double meaning: clothes to wear and at the same time paintings to hang on your wall. In the film we see the design and implementation of these leaders who, especially in versions such as painting, give the feeling of escape from the source material.

Nobuyoshi Araki is a Japanese photographer known worldwide for its erotic genre photographs. The images of women portrayed in his books – starting from his wife in the photo book Sentimental journey – have been around the world as one of the contributions to the construction of the representation of the female body and eroticism in decades.

It is used directly and indirectly the skills of these artists to build a “little story” of pure love. The characteristic appearance of the film is in fact the deliberate contrast between the seriousness of the artists portraits and half-serious tone of loving each other. The documentary part is accentuated by the absence of interviews and the addition of captions, almost as though to emphasize the objectivity. The part of the fiction has lighter tones, cheerfully surreal when not absurd.

I-Docu , Mockumentary , Divertissment , There Is An Appropriate Label To Describe This Film. Despite Some Ingenuity And Harshness, It’S Still A Work With Its Own Stylistic Autonomy, The Result Of The Particular Mixture Of Styles And Themes In Forms Such As This Or Other features are of experimentation.

[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 鈥漇hibata and Nagao"(2012), Director Keisuke Yoshida鈥檚 鈥滺imeanile鈥(2016), Director Kohki Yoshida鈥檚 鈥漈hreeLights"(2017), Director Hiroshi Ando鈥檚 鈥滿oon and Thunder" (2017) and Director Shinya Tsukamoto鈥檚 鈥滽illing鈥 (2018).

Leave a Reply

Your email address will not be published. Required fields are marked *