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Parasyte Part 1 (Kiseiju Part 1,寄生獣 Part 1)

Parasyte Part 1 (Kiseiju Part 1,寄生獣 Part 1)

[ Directed by ]
YAMAZAKI Takashi
[ Produced by ]
* KAWAMURA Genki
* SATO Takahiro
* MORIYA Keiichiro
[ Cast ]
* SOMETANI Shota IZUMI Shinichi
* FUKATSU Eri TAMIYA Ryoko
* ABE Sadawo Righty
[ Staff ]
* Original Story: IWAAKI Hitoshi
* Screenplay: YAMAZAKI Takashi
* Screenplay: KOSAWA Ryota
* VFX: YAMAZAKI Takashi
* Cinematography: ATO Shoichi
* Music: SATO Naoki
[ Production Company ]
“Parasyte” Film Partners
[ Distributor (Japan) ]
TOHO
[ Production Studio ]
ROBOT

Release Date: November 29, 2014
Running Time: 109 min
Genre: Science, Fiction/Fantasy,Feature
Color: Color
Screening Format: DCP
Screening Format with Subtitles
[ Story ]
Always: Sunset on Third Street
director Yamazaki Takashi uses lavish special effects in his live action adaptation of Iwaaki Hitoshi’s world-renowned SF manga. Thrilling and humor-laced depiction of the battle between humans and “parasytes” that take over and feed off human bodies.
Humans are threatened with extinction due to mysterious “parasytes” that live off human bodies. When the right hand of high school student Shinichi (Sometani Shota) gets taken over, he nicknames the parasite “Righty” (voice: Abe Sadawo) and develops an unusual friendship.
[ Official Site ]
http://www.kiseiju.com
[ Film Festivals, Awards ]
2014 Tokyo International Film Festival, Closing Film

Strange worm-like creatures secretly penetrate Tokyo in search of human beings to kill and occupy. Once inside the brain the parasite takes possession of the body and can start hunting for its nourishment: humans. One of these parasitic monsters, however, fails to take possession of Shinichi, a high school student, and only after a fight ends up penetrating his hand. The two begin to live in symbiosis, but the threat that is about to strike humanity does not stop there, a series of strange and violent murders blood-staining the Japanese capital.
Built narratively very well, although according to the style of film blockbuster, extradiegetica music that heralds the arrival of horror, hero, heroine and so on, from the very first scene Parasyte immediately transports us into the action with parasites that they go out (from the sea? from the sky?) to look for a host body to occupy. The rhythm is now very tight, many events happen in a few minutes, also because it is not easy to concentrate all the plots and sub-plot of the manga in less than two hours.
An element that makes the film sliding and lightens it from the atmosphere of pure horror, are the real duets between the protagonist and his right parasitic hand. Another of the highlights of the film is the use of special effects, made by the same director Yamazaki, born with this specialization, effects that are up to those Hollywood but, more importantly, do not engulf the film and are not never ends in themselves. Indeed, the scenes of cannibalism, those in which the heads of the protagonists open like poisonous flowers to engulf the prey or even when the parasites graze with the bodies of humans in a tank, are strong scenes and at the limit of the gore but contribute to create that dramatic and desperate atmosphere that permeates the feature film. The photograph of Atō Shōichi (Confessions, Kawaki) also plays an important role, the preponderance of the bluish or gray-tinged cold tones is the aseptic expression of the “animal” and alien coldness of the parasites but also, in the second part, of the same human beings, of whose absence of empathy the parasites are a very strong symbol.
As a large-scale entertaining and entertainment film, it can certainly be said that Parasyte works, part horror, part drama and part comedy (very funny, among other things). The hand of Yamazaki can be seen, there is little to do. Whether you criticize it or not, the Japanese author is one of the best professionals in his field, we repeat, it is cinema of large consumption, spectacular but not trivial for this.
Paradoxically, the part that leaves more doubt or at least that leaves us a little ‘disappointed is the fact that the film should be the first part of a diptych, at least as far as we know, and therefore many narrative tracks are in this first chapter launched but they do not find solution and / or complete development. A part of the plot is resolved at the end but, as happened in Rurouni Kenshin 2, the tension and expectations are pumped so hard that then having to wait for a second chapter to see resolved the nodes a bit disappoint.
On the acting side, it is confirmed and indeed launches probably as a new Japanese male star, Sometani Shōta, once again very good here in interpreting Shinichi, a boy who suddenly finds himself catapulted into a horrifying world with a parasite instead of his right hand. Much of the success of the character of Shinichi certainly goes to the voice of the aforementioned parasite that with the young actor forms a dramatic/comic couple that works very well. To interpret the glacial teacher, a parasite who decides to experiment and live in the human body as a human being also pregnant, is Fukatsu Eri, a well-known face of Japanese television and cinema. Complete the cast of the protagonists, Ai Hashimoto, the classmate of Shinichi, who in this feature has however a slightly marginal role but that maybe will be more in the center of the scene in the next chapter in which, among other things, will enter the cast also Asano Tadanobu.
Fundamental and fundamental part in this work, as we imagine in the manga that, however, unfortunately, we have not read, is covered by the philosophical discourse that permeates the film from the very first scenes. Here the voice of the teacher and we ask: “if the human population were drastically decreased, would also decrease pollution and deforestation?” Questions and problems like this that concern the roots of evil and the very nature of human beings emerge here and there throughout the duration of the film. A more thorough and reflective analysis of the film then reveals other traces and possible readings that cross and surface in the work, the parasite / guest theme has reverberations and obvious references in Japanese society (hikikomori), the interspecies (parasitic / human) relationship ) allows you to make a difference and to ask us, almost dickianamente, what defines the human and if they are often not inhuman our daily relations with friends or family.
But these were said are analyzes that maybe you can do when we have the second chapter, for now in conclusion what can be said is that this first film dedicated to the universe of Parasyte manages to entertain and entertain in an intelligent way, certainly without any pretension or looking for a formal and stylistic revolution, and this must be acknowledged by the director and collaborators.
[Katsuyuki Nakanishi]

Parasyte_Pt1-p1
mm
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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