Parasyte Part 1 (Kiseiju Part 1,寄生獣 Part 1)
Haruko’s Paranormal Laboratory (Haruko chōjō genshō kenkyūjo,春子超常現象研究所)

Zebraman 2: Attack on Zebra City (Zeburâman: Zebura shiti no gyakushū, ゼブラーマン ゼブラシティの逆襲)

Zebraman 2: Attack on Zebra City (Zeburâman: Zebura shiti no gyakushū, ゼブラーマン ゼブラシティの逆襲)

[ Directed by ]
MIIKE Takashi
[ Produced by ]
* OKADA Makoto
* OKADA Arimasa
* HATTORI Tsugio
[ Cast ]
* AIKAWA Show ICHIKAWA Shinichi(Zebraman)
* NAKA Riisa AIHARA Yui (Zebra Queen)
* ABE Tsuyoshi NIIMI
[ Staff ]
* Screenplay: KUDO Kankuro
* Cinematography: TANAKA Kazushige
* Lighting: SATO Kota
* Recording: YUWAKI Fusao
* Editor: YAMASHITA Kenji
* Music: IKE Yoshihiro
* Production Design: SAKAMOTO Akira
[ Production Company ]
Zebraman2 Partners
[ Distributor (Japan) ]
[ Production Studio ]
Central Arts K.K.

Release Date: May 1, 2010
Running Time: 106 min
Genre: Action/Adventure, Drama, Feature
Color: Color
Screening Format: 35mm
Screen Size: American Vista (1:1.85)
Sound Processing: DolbySRD
Subtitle: English
[ Story ]
After a seven-year blank, Zebraman returns in this sequel, created as the result of the reunion of Miike Takashi (director), Kudo Kankuro (script) and Aikawa Show (main actor). The action is even more extreme than the last film, and the heroine’s outfit shows off a whole lot of skin. It’s 2025 A.D. Zebraman and Ichikawa Shinichi (Aikawa) have lost their memories. Tokyo has become Zebra City, and Zebra Queen (Naka Riisa) is well on her way to conquering the entire world. This is the setting in which a fierce battle breaks out between Black Zebra and White Zebra.
[ Official Site ]

When in 2004 they released the first chapter of this short series, Takashi Miike was preparing the great leap into the mainstream world. A passage that probably happened with Y ō kai Daisensō of the following year. After that ‘Miike episode would not be the same. Embraced the product fees for the masses and the blockbuster, would have reduced the number of films shot in a year (though always maintaining a sizeable media) to devote himself to more ambitious projects, complex and definitely rewarding. Yet the various Yatterman, Crows Zero I and II, Tayō no kizu and Tantei Monogatari on all (to name but a few) had maintained, in part, the author’s recognizable traits.
With the sequel to Zebraman, Miike is different from its predecessor so first of all visually. This feature has influence more than anything else the end result and therefore the viewer’s enjoyment.
The feature, starring Aikawa Shō was a romantic tribute to the Hero Mono (Japanese television superhero series in vogue from the late sixties) and, with its reduced budget, and his philosophy of believing in themselves, he made this tribute even more sincere and heartfelt.
In Zebura Shiti no gyakushū (set fifteen years after the first chapter) this aspect has been lost altogether. All this in the face of the considerable use of special high-level effects, the assignment of many extras to film some sequences, and to a generational look and perfectly in line with the youth fashions. As for the two Crows Zero, then, are links to the world of video clips, which so affect young people in the street projections on Shibuya skyscrapers.
Wonderful, however, the idea of the zebra-time, in what the director describes as a tyrannical society and futuristic; as well as the icon splitting Zebraman, in black and white (good and bad), where the evil part to touch a woman.
These choices make it a bit ‘end in itself the world that had been created in the first film (deep, minimal, let’s say almost B-movie): You then get a hyperbole of sounds, lights, and colors that are crowning the clothes gorgeous and over the top of Zebra Queen, but also in the behavior of the character.
Miike and Kud ō Kankur ō (screenwriter), however, are still able to maintain the quotation and reference to Mono Hero, as they considered it appropriate to emphasize that the hero of the second film, comes from the past. An ideal past, genuine and untouched by the architectural follies, technological and human crowding this tyrannical future.
Yet, even in this case, we are faced with an outcome (visual, screenwriting and costumes in general) light years away from the most famous superhero movies stars and stripes. a cultural issue, certainly.
The manga universe (as well as the previously mentioned world of Japanese television superhero) remains the basic matrix for the inspiration of a film like this, touching the visual level, but also the resolution of the plot, so that more natural and intrinsic.
The crazy idea that characterizes the epilogue, through which you get to defeat (obvious, but how could it be otherwise) the alien on duty, it is a sign that the madness of Miike can withstand even in this context, as already has persisted in the other films mentioned above.
Of course, it is no longer from the face of a totally iconoclastic work (as they were dead or alive, VisitorQ and many others), but a vivid example of iconoclastic narrative disguised as product for the masses
[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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