One Testical In The Stomach

Hanamizuki

Hanamizuki (ハナミズキ, Hanamizuki - May your love bloom a hundred years). Director: Nobuhiro Doi, screenplay: Yoshida Noriko; Cast: Yui Aragaki, Toma Ikuta, Hiroko Yakushimaru, Yuichi Kimura, Yutaka Matsushige, length: 128 '; before: August 21, 2010.

Link: Official Site - The Reel Bits.com

PIA: Comments: 3.5 / 5 exit rooms: 69/100

score ★ 1 / 2

Love story is a traditional song of success a few years ago (you know that!). So much because there were no misunderstandings, we added the subtitle "May your love bloom in hundred years".

Two sweethearts of a country Hokkaido ō you must separate because she goes to study in T ky ō ō while he stays home to do the fisherman. Detachment, distance, new attractions , misunderstandings, marriages, deaths. Then a couple of barrel decided to logic and common sense show things on their assumed path. Overrides color postcard, acting between the unstressed and screamed. The starlet and singer Aragaki Yui is cute but nothing more. The director, Nobuhiro Doi, is a specialist wrenching. His are Ima, ai ni yukimasu (Be with You), based on the best seller by Takuji Ichikawa, and Nada's ō ō s (Tears for You), but at least in it was the musical commentary of the persuasive voice of Natsukawa Rimi. [FP]

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Choose the holidays. Short

home from work, for holidays that define a "shared" I find it shocking. A word from
typical assholes, to put it bluntly.

not cultivate thoughts that in his spare time, of course.
The blog is closed, but opens to the party.
Momentum?
Patriotism?
Ardore?

are not patriotic in character, because I do not believe in borders. And I prefer the bold
resistant.

part of the resistance, awareness.
Italy is not made by a mountain chain and two sea boundary.
Force (Italy)! We can do better.
We've already done.

E 'began:


E 'then went in another way:


But Reclaim meaning and words. More than celebration and reflection.


And finally (re) action: to remain in good health.

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New type: tada ai no tame ni (New Type: Just For Your Love)

*** Flashback ***

New type: tada ai no tame ni (just a new type, for love, New Type: Just For Your Love). Regia : Hiroki Ryuuichi; interpreti : Oomasa Aya, Takezai Terunosuke, Sano Kazuma, Yamada Kinuo; durata : 90 '; first : November 22, 2008.

PIA: Notes 4 / 5 exit rooms: 80/100

score ★ ★ 1 / 2

Yuri does the conductor of a ferry line. E 'blind in one eye and has a childhood friend, Akiyama, but is engaged to another. One day, arriving Kwon, a mysterious young man, pursued and wounded in the leg, the ticket Kwon has just closed and lose the ferry. Yuki realizes immediately that the young person has supernatural powers (it is able to direct energy to a target, making it explode or collapse). If it finds that the threat at home with a knife and forced her to host it in anticipation of the next ferry. E 'wounded and feverish, but she helps him. From the beginning the relationship between the two turns and becomes a bond of understanding. Yuri actually is attracted by the young because she has supernatural powers: able to travel back in time and change the course of events, at the cost of losing their sight. Akiyama two spy and discovers their secrets. So Yuki confesses that the reason she is blind in one eye is that it's gone back in time to save the life to him, who died in a motorcycle accident while traveling together.

arrives at the home of a friend of Yuri Kwon, she superdotato, but she and Kwon are being hunted down by their pursuers, killing the girl. Kwon save and decide to stay in the village to live with Yuri but when everything seems to resolve a killer stabs him to death. Yuri thinks and decides to go back in time to save him, even at the cost of going blind from the second eye.

A weird story filmed with sensitivity and skill. It 's a bit of the sum of several films Hiroki. And, as in his other films, we find some recurring themes: being sensitive depicted as "diversity" in this case, even supernatural, compared to a world of insensitivity, love as self-denial, and the external reality portrayed as hostile. Hiroki is one of the few contemporary directors with expertise in knowing how to shoot on location and in this film the images of nature or of the village are never trivial. Find another her dowry, which is to identify and manage knowledge with young actresses who are under his command considerable expressiveness. The melancholy beauty of Aya Oomasa with a glassy eye is at times irresistible. [FP]

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Kawa no soko kara konnichi wa (Sawako Decides)

Kawa no soko kara wa konnichi (川 の 底 から こんにちは, Sawako Decides). director and screenplay : Ishii Yuya; interpreters : Hikari Mitsushima, End ō Masashi, Shiga K Otar or, Aihara Kira; length: 112 '; first : May 1, 2010

Link: Official Site - Trailer (Youtube) - Nicholas Vroman (a page of madness) - Twitch (Alexander Thebez)

PIA: Notes: 4 / 5 exit rooms: 80/100

score ★ ★ ★

Sawako 5 years living in Tokyo, where he often humiliating positions with the secretary and lives with her fifth boyfriend, his superior, and the daughter he had from a previous marriage. Hers is an existence of resignation. His recurring phrase is "shōgaganai", or "patience", "we want to do so." When he learns that his father is seriously ill, does not want to return to his country as it should, but in the end you get from his companion, who has since been fired and would like to start over. The parent company has a small collection and marketing of shellfish in the river and Sawako should take his place at the helm, but when it tries to do, meet only problems, misunderstandings, inganni.Una old school even steals her boyfriend . But, as the title of the movie - "Greetings from the bottom of the river" - hit rock bottom that you can not go back and Sawako realizes that people like you do not receive anything from anyone and can only engage in short, "that helped Heaven help you. " His recurring phrase becomes "gambaru" "Let's do it." His transformation is sometimes awkward, sometimes inappropriate, but unstoppable, until, at the funeral of his father, unable to furiously angry with her boyfriend who returns to her: Sawako finally chooses and decides!

Sawako is crushed by life's not a loser but rather is a person who has no confidence in herself, who do not know their own means, was negative for fear, mediocre by instinct. His resignation is a realistic, a defense to be able to move forward despite adversity.

If the story is interesting and touching, its representation is no exception, with iconoclast ever found an end in themselves. For example, a small recurring theme is that of faeces. The film begins in a doctor's office with a lavender colon, or Sawako talk to colleagues sitting down on the toilet, or, Sawako spreads the feces of the family garden as fertilizer. Out of that land so manured born of flowers and a large watermelon, which in the end everyone will eat with gusto. As if to say, life is often a shit, but sometimes that shit can be born from a flower or something sweet.

Ishii has a highly original narrative approach and appears to have been able to smooth some rough style present in his earlier films, such as Nippo Mukidashi n (Bare-assed Japan), managing to give the film a pleasure to be looked beyond the results of the same story. With remarkable sensitivity and inventiveness, outlines the portrait of this humble figure in a delicate but not sad, funny but not superficial, sometimes surreal but never absurd. This result helps greatly in the role of Hikaru Mitsuhsima Sawako, although that is not fascinating, it is amazing the support upon himself almost the entire film. [FP]

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The interesting history of the underworld of Milan.

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A policeman uncomfortable.

Film of 1978, with Maurizio Merli, Olga Karlatos. Directed by Stelvio Massi.
Commissioner Olmi is on duty in Rome. Is found at the edge of the Tiber, the corpse of a girl. It is immediately clear that this is a murder. The inspector visits the called by a homeless man who had spent the night nearby. They start investigating and collecting evidence, some made spontaneously by the use of other methods not quite orthodox. The second murder was that of the girl's boyfriend found dead. The charred corpse is found inside a 500 also set on fire along with the corpse. Olmi soon arrive to the principals of the double murder identifying a group of children of fathers with whom the couple had to do before I die. Among these there is also the scion of Degan, a rich customs officer involved in a confusing traffic of diamonds. A man without scruples able to eliminate two guys that maybe they had stuck his nose into business. Degan able to escape to Switzerland (not before he planted another victim), thanks to the foolishness of a judge skeptical of the evidence collected by Olmi. The Commissioner understands that a few choices: either go against a system of power that makes life difficult for the police (the "massacre" is an eloquent account of quaestor) or let it go and maybe take the opportunity to fly in the province transferred via .
Olmi opts for the second street and go to direct the Commissioner of Civitanova Marche (hometown of director Massi). The reality of the province is at first sight much more soporific than the big cities you can also make nice knowledge (Olga Karlatos). Apart from some trouble everything seems to spin smoothly, until the inspector did not run into a band of misfits aboard a motorcycle that sowing panic in the town, firing a revolver. Olmi is obviously interested in knowing the origin of the "iron" and is able to obtain information with its tried and tested methods. It does bring to the place, just across the sea, where the gun was found and immediately notice the signs of tire Tir and a piece of reflective ground. At this point it is difficult to trace to a company transport operating in Civitanova, do a quick survey and find out the truck with the reflector broken. Olmi soon becomes clear that this is an arms trafficking, but is aware that not everyone within the company are aware of them. So demand collaboration. The traffic, as then it will be found watching the movie ends with a wealthy businessman in the area, apparently unexpected.

It is a proven pair of classic detective Massi-Merli. A little twilight, as the tradition of the director of the Marche. Merli not dubbed, but able to move as his familiarity with the minimum use of stunt doubles even in the most dangerous scenes (there are some).
The film is the result of two medium-length films: the first shot in Rome, the second in Civitanova Marche. Interesting the ideas that tend to highlight the changes taking place in the late 70 companies, such as the advent of commercial television, or a choice between social engagement and "reflux" to a more private sphere.
E 'to be reported, in addition, at least one scene that seems clearly inspired by the Moro kidnapping occurred just in 1978 (the film has seen a complaint of December 1978 is therefore almost certain that it was shot after March, where the tragic event occurred ).
Civitanova Marche is given, then an overview of symptoms very suggestive of the Stelvio Massi had particular affection for their city. Music by Stelvio Cipriani. Less, "protagonists" than usual, but still capable to blend well with the various moments of the film. The good is characterized by the first "inserts" of electronics. Overall a film that I recommend, especially to those who love the genre. It 's a DVD that can be put into your drive after a long day at work and a good shower for wanting to spend an evening without much thought.

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Synchronicity shinjū tenshi

Synchronicity Shinji ū tenshi (Synchronicity 心中 天使 ). Director and screenplay : Ichio Naoki; interpreters : Machiko Ono, Tomohiro Kaku, Kikuzato Hikari, Kunimura Jun; duration: 92 '; first : February 5, 2011

Link: Site Journal - Nicholas Vroman (Toronto J-Film Pow Wow)

PIA: Feedback 2.5 / 5 exit rooms: 48/100

Score ★ ★ ★ 1 / 2

It 's always a good thing to see a film that is separated from fees, including authorship, which are all the rage. Not so much because the original is in itself a quality, God save us from the "original", but because these works, regardless of their success, they are able to decentralize for a moment, deterritorialized film from itself. One of these films, even if only in some parts, is Synchronicity Ichi Naoki, author in 2001 of Oboreru hito (A Drowning Man).

difficult to summarize the plot, given that until the end and beyond, no one knows exactly what happens. The film begins with the swoon of the three protagonists, a teenager, a boy and a girl, who did not know each other, in three different places of the same city. Then follow the separate stories of the three, transformed by this event, "something" which laid havoc in their lives, something that probably comes from the sky, or at least from above. This is only sketched, as suggested by the behavior of the three characters that move in a almost catatonic, always absorbed in something else, always on the verge of remembering something that they think they have forgotten or are looking for a tone 'of blue that accords with the feeling (this is, for example, the case of boys). The general tone is ultra-minimalist, with some situation that would call more than surreal dream, all exacerbated by a slow pace and made more tense by a soft piano music.

The idea and the courage to Ichio are good: try to convey feelings, something beyond the realm of word and dell''immagine same, the perception of reality 'is much broader, rich and complex. There surely in him a metaphysical view, and that is what makes the characters repeatedly say that much of our world is peopled with ghosts (yūrei). Just as there is an angelic theme that runs throughout the work. Right from the opening credits, but also obsessive turn our gaze upward and the protagonists in a beautiful scene where the protagonist absorbed in the back of a bed is a movement known under the covers, the wings seem to sprout angel . But then check the cat, the animal simbilicamente is crucial to the meaning of the film.

After the first half hour of the film tends a bit 'to drag on but redeems itself in the last twenty minutes, surely the best part, when it reaches its climax and the plot is resolved, or rather complicated, gradually reveals the core of the story. Formally Ichio could be bolder, more work on the colors and photography to music, or maybe put the camera movements, almost completely absent here. Overall, a film that can be appreciated for the choice of theme and approach, and that potentially could, and perhaps could still be a film to Kōhei Oguri. A review of the film perhaps. [MB]

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Sekai good morning!! (Good Morning to the World!!)

Sekai good morning! (世界 グッド モーニング!, Good Morning to the World!). Director, subject, screenplay, production : Hirohara Satoru; interpreters : Yoichi Koizumi ō , Arai Miho; duration: 81 '; 2010 - 61th Berlin International Film Festival

Link: Berlinale -Catalog or

score ★ 1 / 2

Hirohara Satoru, 24, just graduated from the Musashino Art University, made his debut with this film and immediately wins the "Dragons & Tigers Award for Young Cinema "Vancouver International Film Festival of 2010, as well as a special jury prize at the Pia Film Festival in Tokyo.

His film explores the world of the feelings of adolescence. It 's the story of Yuta, a boy of 16 who lives with his mother, always very busy, in a small apartment in the suburbs of Tokyo. Its existence is lonely in a world that he creates in his room, giving names to objects invented by his imagination. On the way to school in a tunnel to travel, often Yuta meets a homeless man, who one day steals your bag. The next day the man is found dead. And 'the turning point: the boy decides to go looking for the family of the deceased. And will do so by any means, searching for traces of the things of man, beginning a journey in the life of another person, allowing him to finally open up the world around him.

This is an almost amateurish, sometimes all too symbolic and didactic, that linger in a slow narrative minimalism, and that one can hardly think will be distributed in commercial channels, but in any event attracts inspiration and courage gives hope about the promising young talents of the director.

Yuta (who has the innocent face and staring Yoichi Koizumi ō ), moves in a lonely world full of objects stacked in bulk. His messy room, or the very small room / kitchen he shares with his mother and un'ispida cactus plant that represents it well, or even the apartment of a girl he meets in his "journey" to rebuild history 's homeless of the tunnel, each frame the "locked up" in an orgy of waste and disorder, which is profoundly alone.

The world of adolescent feelings, they said. But not only.

outset the director works to build and propose ideas for a debate that seems to extend to the entire society from the world of adolescence: the earliest images Yuta pauses to flick through a porno magazine he found abandoned in soil, and immediately after, with classmates at school, it is called death (for a suicide partner); Finally, the mother comes home and crashes literally on the kitchen table, overcome with fatigue from overwork. Sex, death, chronic fatigue from over-work. Now there, a reminder of the society in which the boy moves, such as anxieties, wishes, chains.

From there on, the film unfolds as a process of training adolescent who, accompanied, as in any "training trip" worthy of respect, from a mentor (a musician who failed - could not do ... another in a work so didactic - he earns a living recycling scrap and waste), will succeed eventually, not so much in his attempt to find traces of the dead man, but rather to "open up" to the world of human relations, the first major step in the growth process.

Symbolically the boy does that enter and exit a metaphorical tunnel until the final, liberating, in which he finds himself running up a huge lawn where we are raising some balloons in flight. The final sequence takes over the top, the camera moves away while the boy is finally moving in a space without limits, without the "objects" / fears that encumber its growth. On the horizon we can see the outline (reassuring? Blessing ...?) Of Mount Fuji.

interesting ideas and a young director to watch for the future. [CB - 61th Berlin International Film Festival - February 2011]

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Beck

Beck (Beck). Directed: Yukihiko Tsutsumi; subject: from manga Sakuishi Harold; Screenplay: Tetsuya Ooishi; interpreters : Mizushima Hiro Sato Takeru, Kiritai Kenta, Kutsuna Shiori, Mukai Osamu, Aoi Nakamura, Yuki Matsushita, duration: 145 '; first : September 4, 2010.

PIA: Comments: 3.5 / 5 exit rooms: 69/100

Links: Official site - Mark Schilling (Japan Times)

score ★ ★

Among the many films about rock music released in 2010 ( soranin , Bandage , Shikizoku generation, including others, and even before, Fish Story ), Beck is more commercial and less creative. After signing the trilogy 20-seiki Shonen (Twentieth Century Boys), Yukihiko Tsutsumi has been the availability of a large budget for this film, but it seems that funds are not enough to do something good.

It 'the (usual) about a group of five guys who form a rock band from scratch through the intersections of fate. In particular, one of them, Koyuki, is not even a musician but a high school student who, oppressed from the abuses of the bullies in school and attracted by the talent Ryusuke's guitar (the future leader of the group), is close to the event to music and discovers he has a heavenly voice that seduces the crowds. Thanks to this gift also and above all, the group will just spontaneously happened. Many obstacles are strewn in their way: starting with (boring) conflicts within the group, through the malice of record producers, to get even the mafia black Americans landed in Japan to avenge the theft of a legendary guitar once in the past. Fortunately, in the end everything comes together in the magical atmosphere of a great live concert in the rain.

many musicians, sometimes pleasant, and a little story of adolescent love between Koyuki and Ryusuke's sister to act as a boundary, are not sufficient to excite. The great neo movie however is the fact that it is precisely the element of "magic" that is the voice of Koyuki sings in the audience as to give them the feeling that the world stops , is never made to feel Every time he sings, you see one and not heard. A choice of director Franco questionable, more so in a film that does not shine for some originality.

PS. "Beck" has nothing to do with the American singer originally from California who has had some success in the 90s and even less with the legendary Jeff Beck Yardbirds, but within the film is simply the name of a dog which takes its name providing the music. [FP]

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Love come

Love as (ラブ コメ, Love Come). Directed : Hirakawa Yu ichiro ō ; subject: a novel by Atsushi Matsuhisa and Wataru Tanaka's novel; interpreters : Karina, Kie Kitano, Kei Tanaka, Atsuro Watabe ō ; duration: 89 '; first : September 25, 2010.

Link: Official Site

PIA: Comments 4 / 5 exit rooms: 57/100

score ★ 1 / 2

"Rabukome," the Japanese pronunciation of "love com, love is about to play a specific genre, among other things, manga and anime. The plot is the confirmation: makie (Karina) is the flower girl has a boyfriend and not a long time, partly because of her tomboy character. One day he meets Miharu (Kei Tanaka), a friend who had not seen for 17 years and that he loved her secretly since childhood. But when he finally decides to confess, an old boyfriend makie reunited .... Meanwhile, in the flower shop assistant also works as Ryoko (Kie Kitano) who is wooed by an actor (Atsuro Watabe ō ) who gives voice to the souls and is a single father ....

not a film adapted from a television drama, rather it is a movie made as a drama of the afternoon time slot, an anime with characters of flesh and blood. Simple story, shallow characters, predictable hitches, many colors, everything for granted, including the happy ending.

Karina has yet to learn to play, the cute Kie Kitano in a non-high school but more as a young adult, Atsuro Watabe ō always smooth, Kei Tanaka totally expressionless. The director (?) Is the same as the blockbuster Rookies . [FP]

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Dear comrades, Italy should be ashamed of defense is not enough.

In this last period are increasing the evidence of a derisive attitude of foreigners towards us. We do not speak or print media (for now) but a strictly interpersonal. When you go abroad you would fooled by the mere fact of being Italian.
E 'likely in such statements (Corresponding to reality or not) that there is an instrumental. This is the usual litany: us-take-in-lap-to-blame-the-Berlusconi.

The question is somewhat more complex. Mix, in fact, old antipathies between countries dating back to the two world wars, geopolitical affairs, of economic interests. And of course have their place some inappropriate behavior of our head of government. The latter, in fact, there appears to be the real cause of a press campaign against Italy. They are, in my opinion, simply an excuse, the screen politically acceptable to attack our country and the Italians. In other words, I believe that the first three reasons are the ones really crucial.

If we were to recall the famous cover (1977) of the German weekly Der Spiegel (the one with the p 38 above a plate of spaghetti) then repeated his well in 1992 would understand that the phenomenon is not new. These were the years of terrorism (offensive and mafia) and for that week we were always the same for pastasciuttari more dangerous (the Germans, however, as you know, are peaceful and harmless ...). Of course, Time magazine Man of the Year in 1931 elected Benito Mussolini ... Saving

readers all the terminology used highly derogatory towards us years of the great Italian migration in Europe and North America (a topic very dear to the left, this).
E ', therefore, clear that it is necessary to make some order on the causes of this "dislike".

Italians are notoriously susceptible to what concerns its "credibility" internationally. Like almost all the peoples of the earth, for that matter. With one small difference: we have a tendency to autoflaggellarci, to need external approval for the correctness of our actions. We need carezzina on the head, without suspecting that it will only come when our work is pleasing to the owner who grants us. Not only is there doubt that the days to express an opinion conditional or misleading, but rather we go looking for the culprit, in our house, to throw overboard. For the famous "carezzina" we would be able to do anything. If other countries (also full of problems) is compactly reacts against criticisms that are interpreted as unfair or even damaging to the national sovereignty from us - those same critics - are perceived as reasons to divide us and accuse us. This is a typically Italian, is hard to find elsewhere. Obviously this is well understood and exploited.

I am struck and saddened that after so many years, has not yet understood the game and you continue to divide on the basis of what they write abroad. It is even more serious that you use the international press in the electoral race.

E 'was a shameless spectacle that was made by two newspapers, El Pais and the Republic: the first capable of attacking Italy every other day and the other as well (even though Spain was moving toward the financial default then luckily escaped), the second ready to be a mere importer of articles written in Madrid full of envy. El Pais
While Italy was concerned, the English economy gasping and Iberian country was among the candidates for bankruptcy along with Greece and Portugal. Obviously the Republic, until a few weeks before, chanting the "English miracle", which exceeded the zapateriana Spain Italy at, the throngs of young people tired of the nepotism (real) Italian took refuge in the El Dorado fake English. How many bullshit, you might say ...

In fact, I'd like to have more of their fellow countrymen proud of their country. Regardless of who governs us. In fact, the awareness of what it is, its place in history, largely beyond the quota or the fact that when there is someone in power who do not like. Although this simple concept that drives the greatest country in the world (those in front of which some of our compatriots feel "shame") seems to be not yet shared in our limited reality. Yet it is strange to hear

assimilate, who has a certain culture, Italy in reality disgraceful. I have too much respect for Professor Eco to think he was drunk or worse did not know the story when he said that Berlusconi -is-like-Hitler , plagiarized reduced to a similar "concept" at the time expressed by Di Pietro. To say that Hitler is to say that Berlusconi is Italy and Nazi Germany. If you think this "analogy" has been expressed in Israel understands the immense good blasphemy from the mouth of Echo. Evidently political hatred and passion, in the worst sense of the term, can overwhelm all in a flash "antibodies" rational of a great mind. Eco

were right to say such a thing abroad? I think not ...
has not done well either to himself, nor even to Italy. As hurt all those who are ready to give anyone reason to muddy Italy, just because the government is a we do not like .

Finally, I express my skepticism about the evidence upon which it would be the object of ridicule when you go abroad. In my small way, some contact grow it. In America, Germany, France, England, even in Japan. I can say I have never had any problems with anybody, even to have been the subject of consideration and pleasant curiosity as an Italian. I have never been blamed for the fact that originate from "Land of Berlusconi." Other considerations have emerged. Actually I think I can say that anyone who makes fun of another because of their origin does not deserve serious consideration. These are individuals that are not text, to which we should not spend 5 minutes of your life. Who makes fun of the Italians is simply because you are an idiot. It is not enough to ennoble the fact that it is an "idiot international".
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Byakuyakō (Into the White Night)

Byakuyakō (白 夜行, White Into the Night). Directed: Yoshihiro Fukagawa; subject: the novel by Keigo Higashino; screenplay : Yoshihiro Fukagawa, Irie Akari Yamamoto and Shingo; interpreters : Horikita Maki, K ō ra Kengo Funakoshi Eichi or, Keiko Toda, length: 149 '; first : January 29, 2011 - 61th Berlin International Film Festival

Link : Official Site - Berlinale- Catalog - Mark Schilling (Japan Times) - Nicholas Vroman (a page of madness)

PIA: Notes 3.5 / 5 for the exit salt: 69/100

score ★ ★

Based on the popular mystery story Keigo Higashino of the same title Byakuyakō is a thriller (and also a love story troubled ) complicated and dense, revealing a labyrinthine structure in which they move and redundant characters as complicated and multifaceted emotions.

The story begins with the violent death of the owner of an agency's pledge in 1980. The widow is suspected of the murder of her mistress, but soon cleared dall'alibi provided by small Ryoji , the son of the dead. The murdered man was attending a woman whose daughter is a girl from Yukiho ways very mature for his age. When the mother of Yukiho commits suicide, the case is considered closed, but the solution is not convinced the detective that Sasagaki, nineteen years later, when the two boys are now adults and live apparently normal lives, decided to reopen the case.

Yoshihiro Fukagawa chooses an adaptation from a literary source for his film, as it was also the previous Makiguri No Ana (Peeping Tom) taken from work by Akiko Yamamoto , already adapted for film by Korean director Park Shin-woo in his White Night 2009.

And just like in Makiguri Ana No, the story of a writer-successful spying on their neighbors apartment through a hole in the wall (with all the consequences of erotic / horror / grotesque that one can imagine ... ), having regard to the Udine Far East Film Festival in 2008, also in Byakuyak or the director, after a first half riddled with moments of comic / farcical (the demented briefing at the police station are an example), changes the dark and it solves a serious drama.

The first part (SOR) for laughs comic situations highlighted by many of the characters enter the stage from the bottom of the frame insertions and music all too evident, and jokes are a bit 'to Police Academy then, as it already happened in the film's debut in 2005 Fukagawa, Okami Sh ō jo (When the Show Tent Came to My Town), the atmosphere turns to tragedy and becomes dark, the funny naughty little girl turns into a cold dark lady in classic noir style , the small Ryoji becomes a prey of adult neurosis with whom he grew up (and that will lead to death). The ghosts of the past act in the shadows and sow unrest.

It 's interesting development of the two characters in the second half of the film: childhood trauma produces the effect of bringing him to madness and self-destruction, she determines in a cold, and charming insensibility. Of note, the final sequence in which the camera follows the protagonist as it moves away from the place where lies the body of Ryoji (suicide) and then displayed in the foreground, at length, smiling a smile of chilling. It 'an evil, as in Makiguri Ana No, that does not seem never able to get out at all, but acting in the soul and destroys lives.

All in all, and despite the conditions, the film fails to win at all. Often gives way to an uneven and slow pace, especially the ending. Beautiful, talented (and damned) the two interpreters, Horikita Maki and K ō ra Kengo . [CB - 61th Berlin International Film Festival - February 2011]

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Matataki (Piecing Me Back Together)

Matataki (瞬, piecing Me Back Together). Director and screenplay: Isomura Itsumo; subject: the novel by Kawahara Ren; interpreters : Keiko Kitagawa, Masaki Okada, Ootsuka Nene, Misa Shimizu, Taguchi tomorow; length: 110 '; first : June 19, 2010.

Link: Official Site - Trailer (You Tube)

PIA: Feedback: 3 / 5 at the exit of rooms: 56/100

score ★ 1 / 2

In Japanese cinema, known or "onamida chōdai (strappalacri me) is not really a genre but close enough. More than in other contemporary cinema, is still in Japan, the taste (and a market area) for the film, two essential ingredients are love and death. The variations are almost three: focus on the great love and then death, love and death and emphasis on some kind of return to life / love, love and death and emphasis on memory. Matataki belongs, without addition, the third group.
Two boyfriends happy in motorcycle accident, he dies. The girl loses his memory and tries to find hard to recover and preserve the memory of him. Exit from the psychiatrist's office where she is receiving treatment, he meets a woman lawyer, also grappling with a hidden trauma. In a sort of symbolic exchange the two help each other to find a way to live. Great space in string music, the absence of the natural landscape, the other ingredients typical of the genre.

Kitagawa Keiko drama after several repeats his face from mouse to the role of the traumatized girl, Masaki Okada is the beauty that is no more, Nene Ootsuka the lawyer who hides behind a fragile resolve frankly useless. Itsumo Isomura, far from lucky Gambatte ikimasshoi (Give It All), directs anonymously. [FP]

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Box Office 21-27 febbraio 2011

1 (-) The Chronicles of Narnia: The Voyage of the Dawn Treader
2 (1) GANTZ, in Satou Shinsuke

3 (3) Taiheiyou no kiseki (Oba: The Last Samurai), the Hideyuki Hirayama
4 (-) Gekij O ban makurosu F: O say persons Tsubasa (Macross Frontiers: The Wings of Goodbye), in Kawamori Shouji (anime)
5 (2) Hereafter (USA)
6 (-) The King's Speech (GB)

7 (4) Ashita no Joe (Tomorrow's Joe), the sorry Fumihiko
8 (-) Morning Glory (USA)

9 (6) Mainichi Kasan (Kaasan Mom's Life), the Shotaro Kobayashi

10 (7) Paranormal Activity 2 (USA)

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Box!

Box! (ボックス!, Box!). Directed : Toshio Lee; subject: the novel by Naoki Hyak; interpreters : Hayato Ichihara, Kengo Kora, Kashii Y ū , Mitsuki Tanimura, Toshio Kakei, Misa Shimizu, duration: 126 ' ; first : May 22, 2010.

Links: Official site

PIA: comments: 3.5 / 5 exit of rooms: 69/100

score ★ 1 / 2

Two elements topical films for / on young people are school and sports, often together. In this case there is almost only sport, boxing in fact, although it is of a high school boxing club.

Kabu (Hayato Ichihara) is the typical boy impetuous, energetic, very studious and sensitive force, if not delinquent. Boxing is a natural progression for him (As we have taught dozens of Hollywood films). His childhood friend Yuki (Kengo Kora) is the opposite of him: shy, sensitive, introverted. Yuki part from when he was in elementary school because of the transfer of parents, found in high school and decided to devote himself to boxing. On the basis of commitment and determination to reach good results but not the friend who has a natural talent for melee combat.

history of friendship, hard work and sporting success, use without any originality whole catalog of instruments typical of the genre: the fan girl dedicatissima, the deadly disease at a young age, the teacher who follows the boys also in athletics, the poor family environment, fall and rebirth. Above all, it seems to borrow from Rocky, out of time, the music and shots of the city during the training.

Hayato Ichihara, a little 'less unbearable than usual, he trained in the ring six months before shooting the film. Many times the meetings were filmed without stunt actors. This provides a welcome sense of authenticity amateurish. [FP]

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Neopuritanesimo and patriotism. The new face of the Italian left.

Two considerations partenza.Un politician must be able to perform his duties with dignity and honor . Second, patriotism should be a value at which its action inspired by a citizen, and even more representative of the people.
What is patriotism? Just the feeling of devotion, love and allegiance to their homeland. A noble value, therefore, easily distinguishable from nationalism (ie the ideological tendency to exalt the concept of nation exaggerates the common feeling of attachment to his country). In other words, nationalism can be understood as Deger of patriotism.

At this point I would write something about the story of constitutional patriotism, recently revived by some members of the so-called right, fascists until about fifteen years ago and now engaged in giving lessons to all liberal. Evidently be converted on the Damascus often coincides with the need to make some real abjurations to reassure and convince the next on the sincerity of his repentance. It was therefore felt the need to propagate some of these concepts did not feel absolutely need, like that of "constitutional patriotism."

According to them we should be patriotic, not because we love our country but because we love the Constitution. No more love, devotion, loyalty to their homeland, Italy, but love, devotion, fidelity to the law. The constitutional patriotism is, in their view, a watered down version and acceptable consequence of patriotism pure and simple. In fact, patriotism can be such only in its original sense. Talk about a "variant" is constitutional because it is completely absurd defined a concept of total devotion to a positive law, written by men and therefore perfectible, subject to change. But also because fidelity, ' attachment, the love of a rule (legal or moral) is typical of absolute states, primarily those where the rule of the theocracy (but not only). Constitutional patriotism is a re-reading the end, despite all good intentions, of what in some countries is considered the loyalty, love, devotion to religious law. The Constitution almost loses its characteristic as a rule written by men to assume a character of sacredness, objectivity, absoluteness, that did not fit in a positive rule. It 's a trend that may well see in politics today, when we tend to "sanctify" our basic law.

In other words, in my opinion, the constitutional patriotism is a wives' tale.
In countries like U.S., Britain, France, Germany, patriotism is not even constitutional. We are proud to be American, British, French, German, without having to justify difficult balancing acts. We are proud to be who you are regardless of own constitution, as aware of their history, culture, language and identity. Based on this property (that can be infinitely more representative of a people rather than a law), or read themselves, you can understand their place in the world. And 'the people that determines the law, not the law that determines the people.

Without this premise due, I come quickly to the point that I wanted to deal with: that the chromosomal changes that the left seems to suffer in recent months. This is a process of genuine, real, or a mere reaction (opportunistic) linked to the political contingencies?
This question could respond by saying that, traditionally, the Italian left has never been particularly patriotic. Except as socialist Sandro Pertini some personality and some moments Craxi, all those who came from the ranks of the PCI have never been interested in food patriotism or love for the special flag. Everything was unceremoniously dismissed as feelings typically due to the two decades. Even today, the word patriotism / country is regarded with suspicion and brought back to the political / ideological precise.
Something similar can be done to the Democrat side, not interested in betting on these issues. From this point of view there was a rematch of the Church on the Risorgimento.

Catholics and Marxists (of strong 3 / 4 of the electorate) have worked diligently to forget the Italians of the concepts that were exploited by the fascist rhetoric but who were at the base of the Risorgimento and the Unification of Italy.

All this has done nothing but prepare the ground, along with 40 years of misrule of party politics, the phenomenon that the League has as its ultimate goal the secession.
The objective of the Northern League is in fact to get the federal rule and then plant more or less stable in the northern macro-region, acting as a force Government and opposition inside and outside (in relations with Rome). Which, moreover, has always been able to do.

Depending antileghista, therefore, the left becomes even patriotic. We saw Benigni in Sanremo (or have seen), or Saviano with the tricolor. Even the truculent blogger Piero Ricca is served the Italian flag to reiterate his opposition to the League's phenomenon. I think there is a reevaluation of the meaning of unity that is inherent in the flag, the hymn, in our often tragic history. A re-evaluation of the experience Risorgimento and the importance of this third "anniversary" Italian.
All very nice and admirable but with a strong flavor instrumental.
Also because on the one hand we talk about it with the tricolor on the other league.

As regards the neopuritanesimo then, the story is even more mortifying.
We have gone from "anything goes" to the "all sober." Sexual freedom, a libertine spirit, has always been characteristic of the left since '68 (well before even some areas of the right to tell the truth). The PCI was severe as or perhaps more of the same DC and the Catholic church regarding moral (sexual), but over the years subsequent to May 68 were the watchwords of others. The opposition in four

quatt'otto and wore the habit of Savonarola and did their theses Church regarding sexual morality. More
that these "slippages" would prefer a programmatic platform, credible alternative government. A leader in opposition to Berlusconi. And do not hope for support "intrnazionali" far from disinterested to get rid of the current government.
opposition that wants to claim the government of Italy should not act as a bank for international press campaign. The dignity of their country is defended even when there is a premier unworthy. Indeed, even more so.

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Baka no hakobune (No One's Ark)

*** Flashback ***

Baka no hakobune (ばか の ハコ 船, No One's Ark), Directed : Yamashita Nobuhiro; screenplay : Yamashita Nobuhiro, Mukai Kosuke; photo : Kondo Ryuta, Mukai Kosuke; mounting : Tadokoro Hajime; music : Akainu; Interpret: Hiroshi Yamamoto, Tomoko Kotera, Yuko Hosoe, Takeshi Yamamoto; production : Kosuke Mukai, Kunihiko Tomioka; length: 111 '; first : April 26, 2003.

Links: Trailer - Jason Gray (Midnight's Eye)
score ★ ★ ★

No One's Ark is the story of a couple willing to try hard to achieve financial success by selling an unlikely energy drink taste disgusting and the very similar name to that of a most famous product. Having experienced the failure in the capital, two fold, enthusiastically completely out of place, the sad reality of the province of his native country.

Yamashita second feature, takes some cues of the previous Hazy Life and anticipated for other aspects of the next Ramblers, with which it forms a kind of trilogy on the rise. More accurate in shape and more elaborate than in the intertwining debut film, No One's Ark reiterates a clear authorial poetics (though rooted in "tradition" of independent film and certainly indebted to established filmmakers like Kaurismaki, Kitano and Jarmusch) but at the same time suggest a distinct tendency to eclecticism and an ability to challenge the canons of his films, that these features will become more apparent in the years to come. As was the case in Hazy Life, the film focuses on a pair of inept lunatic trapped in a mediocre and shabby reality against which they are, unknowingly, so much the outsider (because, unlike all others, and try to dream desperately to stand out) as part of vice versa (because they are not up to its aspirations). The difference from the pair of friends Hazy Life is that there are players showed resigned to not getting the slightest recognition social reality, while engaged in No One's Ark flaunt an entrepreneurial spirit and enthusiastic confidence in the success which clash comically with the desolate landscape of the Japanese economic recession. Their company is pointless and absurd just like all the meticulous controls of goods that the two, very serious, running daily on their own plan products and outlandish marketing strategies. The ridiculously grandiose dreams of the couple and, above all, their seriousness and determination in pursuing them in the face of continued defeats and humiliations, are meant to fail from the premises, so that the structure of the film there is, from the first scene until the final surreal, like an inexorable decline in steady decline because of ambition, to vent frustrations and compromises with bitter reality.

While No One's Ark is certainly one of the funniest movies of Yamashita, the underlying sadness and sense of the grotesque are too intense to not leave a bitter aftertaste. The look is minimalist Yamashita, property, located in an often cruel and merciless, but not without a self-deprecating sense of empathy and caring towards the players, mainly conveyed by the actor-fetish in which the director relies on all the main roles in this first phase of his career: Yamamoto Hiroshi (not to be confused with Takeshi Yamamoto, protagonist of the most experimental of Yamashita, who here plays the surly misfit and Ozaki). Skilled in painting on their faces and their movements in the sense of embarrassment, inadequacy and existential distress that animate the film Yamashita, Yamamoto with extraordinary natural embodies a model of what a typical Japanese so out of cliché, the other side of the philosophy of " Ganbare ", an anti-hero literally able to deflate like a balloon (in one of the most memorable of all the peaks of surrealism Film Yamashita) while not having to face reality. Excellent also the interpretation of his female counterpart, Tomoko Kotera, and interesting soundtrack. [GC]

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Nazionalpopolare70 Facebook. Renato

inform our readers of the blog that has been active for a few months a Facebook page with a lot of video (over 250) relating to Topics covered on Nazionalpopolare70.
The links relate to the Italian genre cinema of the 70s and insistent links with the social and political reality of those years, always trying to maintain a common thread pretty obvious. Obviously there are some "licenses."
You can subscribe in order to know each other better and interact in a more agile and immediate.
The page is then provided with a series of editorial advice by which everyone can, if desired, to deepen certain aspects of the '70s (and immediate vicinity) in Italy.


NAZIONALPOPOLARE70 FACEBOOK

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Heaven's story

Heaven's story (Heaven's Story). Directed: Takahisa Zeze; screenplay : Sat ō ū Y ki; interpreters : Noriko Eguchi, Akira Emoto, Mitsuru Fukikoshi, Murakami Jun, Sat ō K Oichi; length: 278 '- first : October 2, 2010; 61th Berlin International Film Festival

Links: Official Site - Nicholas Vroman (Toronto J-Film Pow-Wow) - Berlin- Catalog

PIA: comments: 3.5 / 5 exit rooms: 74/100

score ★ ★ ★

In an interview a few years ago, Takahisa Zeze, a so-called "Four Kings of Pink", about his films - Gender erotic - and declared: "I try to show the relationships (between people), I love film."

comes from think of this statement (at least the first part, since Heaven's Story is not a sentimental genre, much less erotic ...) in front of the last mammoth work of director: in almost five hours of film, divided into nine chapters covering a span of nine years, what matters above all the director seems to be (still) the development of relations: between victims and perpetrators of violent acts, including victims and victims, survivors, and also between humans and the ghosts of the afterlife.

The film, best film 2010 seconds Eiga Geijutsu, third Kinema Junpō and fresh winner of the FIPRESCI Prize and NETPAC at the 61st Berlin Film Festival, is a story of revenge that follows broken the cycle of seasons and involves different characters: the young survivor of a family murdered by a psychopath, a man who vows revenge for the death of his wife and son, become a cop killer to help the family of another man he killed in self-defense, a rock musician who is able to partially deaf for a few years to stop the cycle of violence, and more ...

The different stories of the film It is set in the complicated structure with frames of classical Japanese theater that trace an ancient tale of monsters and humans, several themes are emerging: revenge in the first place, together with the state of emotional conflict of the people whose lives have been disrupted by violence, but not all. The theme of death understood as loss, death, in contrast to the birth, the relationship with the afterlife (the last such meeting of the ghosts of the slain family with the only survivor, or in the many references to the cicada that free of the armor and "born again"). And memory, in the chapter about a woman suffering from Alzheimer's (played by the famous singer Yamasaki Hako) which manufactures dolls, which decides to adopt a boy who killed a mother and her baby, and even the relationship with nature strong and powerful as in the section on ghost towns in the mountains. The film is ultimately a reflection on contemporary Japanese society.

Maybe too much? Maybe.

And in fact the work intensity is influenced by fluctuating, sometimes it's really fascinating and overwhelming, in others the rate has unbridled accumulation and less convincing.

The use of frames gives a sense of tragic drama and the narrative in its own way, it's like trying to "tidy up" in the flurry of stories and plots, however recovered quickly and nervous anxiety return to the story. In this thick succession of events of (many) characters in the film seems quite infatuated with (of all, without exception, unable to choose between them such as "light" better at the expense of others and in so doing, creating a crowded Olympus of gods and demigods ...), many sequences that can not fail to strike. From one of the first group of children that plunges from a pier, with footage from below the water surface, like an invitation, in preparation for the next four hours to "dip" in the flow intensity of the images of that long ... ghost town nestled in a landscape of snow-capped mountains, a place of epic life and death, became the unlikely stage for Auditors, consisting of endless corridors in which appear the ghosts of people who are also suffering, and terraces of concrete on which the men seem crushed under a leaden sky, which in turn seems to be a metaphor and reflection of the paradise / hell "compressed in the human.

Maybe too much, yes.

You exit the "journey" of Heaven's Story fascinated and a bit 'dazed. [CB - 61th Berlin International Film Festival - February 2011]