When Do You Get A Navy Sign On Bonus

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]

Could You Wear A Vest To A Wedding

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.

How To Place Placing Pole Before Jump

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]

Cant Watch Allsp On Ipod Touch

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

Can A Lady Breastfeed Her Husband

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]

Singapore Female Doctor Penis

Vallanzasca (The real one). Renato

Different Type Paints Or Colour Matchingto House

Chonmage purin

Chonmage Purin (ちょんまげ ぷりん, Chonmage Pudding). Director and screenplay: Yoshihiro Nakamura; subject: the novel by Araki January; interpreters : Nishikido Ryo, Tomosaka Rie Suzuki Fuku; duration: 108 '; first : July 31, 2010.

Links: Official site - Mark Schilling (Japan Times)

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

Score ★ ★

In recent years, various directors characterized by originality and / or nonconformity are taking a break from their standard of creativity to create a work closer trends so-called "commercial". This was the case with the unsuccessful Ryuichi Hiroki meatloaf Yomei ikkagetsu no Hanayome (Bride April) or are good with Shion Chanto tsutaeru (Be Sure To Share), so it's time for that Yoshiro Nakamura After a series of films ( Golden Slumber ; Fish Story ; The Foreign Duck, the Native Duck and God ) all marred by stories maybe a little 'convoluted, but still sharp and intriguing, you grant this quiet and pleasant family film.

A separate mother and infant son on the street see a man dressed as a samurai. Think is an actor for some advertising, but find, disbelief and fear, which is actually a real samurai from the Edo period of 1826. Clear case of displacement in time, the film has the intelligence to not bother to explain and illustrate the fantascientfico aspect of the story, but simply to have fun by combining modes of thinking and acting of the samurai to those of people today. While never abandoning his katana trusts - which, however, as you can imagine, is helpful in times of danger, then as now - the samurai involved in the life of the mother and child, and above all a passion for art pastry kitchen , becomes a friend and father of the child, discovers, inevitably, cell phone use. A comparison of attitudes, though superficial, is funny, sweet and sometimes cuffed commmoventi.

The moral, if he wants to find one, could apply to all countries to be able to do good things today sense as a parent, friend or husband we need a man in one piece, a man from another time, just a samurai.

Nishikido Ryo, with his dark and sullen frown goes down well in hand; Tomozaka Rye would be nice as a young mother who has to find a new partner was not for the fact that continually tends to bend the mouth to the right.

"Chonmage" is the name of the hairstyle typical of the samurai, with his head semirasata and hair in a big band at the center of its head and tail. "Purin" is the Japanese pronunciation for "pudding" and refers to a Japanese-derived sweet pudding, like pudding and crème caramel. [FP]

Licence For Virtual Plastic Surgery

Vallanzasca.

I wanted to write a few words about a couple of books I've read lately about Rene nice, as you know returned ; current in our cinemas.
This Vallanzasca, the last flight written in collaboration with (precious) and Leonardo Coen Vallanzasca, novel unauthorized public enemy number one Vito Bruschini . Specific

as the first book is a kind of little autobiography of the former bandit, concerning the crucial moments of his life, relationships with women, his "morality" of the criminal, the years (40) and the slow reintegration of prisoners into society started a few months ago to work in a cooperative.
The second is only a novel, not very apt. Of course, in the opinion of the undersigned.
E 'particularly interesting to see how these two volumes are linked together. Indeed, the novel is, in several pieces, a mere review of what is written in Vallanzasca, the last flight. Even a few steps, a few sentences of the protagonist, is set faithfully in the novel. Scopiazzatura a nice job of that made me come back to mind Crime Novel De Cataldo: there too a copy and paste from the news real, with the difficult problem of having to change the names of real players so that they could bring in fiction, often with all their tics. Obviously the real news is far more interesting than fictional. If you happen to read Boys underworld, deeds and misdeeds of the Banda della Magliana John Bianconi and then Crime Novel De Cataldo. And you know how 'is easy to make the "writers" at times.

Bruschini, had not even so much effort to invent the names of characters taken from reality. They find themselves next to Renatino , various Turatello Berlusconi (inevitable), Cutolo, Liggio, plus a few more excellent name of Milan during the period. The result is a soup a little grotesque, even where the police call Vallanzasca with the affectionate diminutive of Renatino.

The Sardinians, then, are badly dashed. With the excuse to talk Vallanzasca, the author indulges in a series of names ( Pecorari, beasts, animals) really offensive. Obviously Renatino expressed in these terms because he had a different style in dealing with kidnappings and disapproved those kept by Sardinian and Calabrian. In the book you cite
firms "gentlemen" of all the regions of Italy but the only peck at the racist abuse of phony Vallanzasca are, needless to say, the Sardinians ...

As you can see the book I did not like. He promised to revive the atmosphere of the 70's but it is better to watch a movie or read some objective account of the period.

Vallanzasca, the last flight but it seemed a much better job. The former boss of Comasina is an accomplished storyteller, quite smart funny besides. Which is good. Only that tends to gloss over some painful episodes that are the reasons why for which it was done 40 years in prison. No statement or nearly killed the policemen, for example. Many of its joints, or the timing of romantic ligero, on his women, or how Milan has changed.
There is a guide, "Michelin" on the nation's prisons, complete with a vote from one to five stars, but not expressed in handcuffs ...

short, between the two, I recommend the one written by the original and not the novel. Or read them both and then let me know.

Pirates Ii Digital Playground On Line

Kazoku X (Household X)

X Kazoku (家族 X X Household). Director and screenplay : Koki Yoshida; photo: Takayuki Shida; interpreters : Kaho Minami, Tomorow Taguchi, Tomahirō Kaku, Mariko Tsutsui, Jun Murakami; duration: 90 '; 61th Berlin International Film Festival

Links: Berlinale Catalogue-

score ★ ★ ★ 1 / 2

The small gestures of everyday rituals of everyday life, reveal the growing desperation within the microcosm of a family. The director insists on symptoms rather than on the diagnosis and track the inexorable progression of the process of alienation, along with systematic rigor every gesture that the three (almost) strangers do.

The mother who arranges the napkins on the table fanatic precision, the father who puts in order his wife's slippers after being intentionally bump and immediately left the house locking the door behind her, the child who falls every morning at home and it is clear that parents know nothing of how and where spends his nights.

Koki Yoshida is on his second feature film (the first was in 2008 Shorei X, another story of monotonous routine of a man and his schizophrenic mother) and seems to successfully reach its goal: starting from the specific case, alludes to the broader context of a society in which the interactions between individuals are marked by a deep malaise.

His film is a perfect machine. Dialogues rare, almost non-existent, mostly focusing on trivial issues, such as a water dispenser, a tension that is growing and highlights the desperation of the three: the mother embodies the perfect desperate housewives that gradually changes from preparing lunches and dinners that no one appreciates a hysterical episodes of bulimia, the father loses his concentration at work and, in fact, end up being isolated from colleagues (and perhaps to see that compromised his work), the son in the only moment in which a verbal contact with the mother a bit 'more intense than usual, the half-hidden by a curtain and does not meet her gaze. The growing alienation within the four walls. What are those of a prison-house, a house-torture the poor woman, a location carefully chosen by the director, as he himself said, to ensure that the three characters you could act without actually interacting with each other .

the balcony plants watered and cared for with devotion, at some point die, forgotten. Even the regulator produces molds metaphorical.

The director did not reveal if there was a trauma, or rather a gradual, daily, but finally removed to cancel the communication between the three. It is precisely this mechanism, the emotional crescendo of every gesture / sign of weakness that gradually affects the sensitivity of the viewer, makes the identification is always (dramatically) powerful. Kazoku X represents any family could be the family of each of us.

One thing however in my opinion is that of the typical Japanese social control that emerges from the film: the family lives in a typical middle class suburb of of Tokyo, in order houses and similar to each other. At regular intervals, the mother takes household waste, which should be carefully differentiated, in the place of collection. And here sometimes feels embarrassed in front of the station (perfect housewife or maybe even a little below her in desperate ...) for its inadequate separation of waste. Meanwhile, the nearby monitor, note that the woman's son returned home in the morning and asks questions to which the mother, awkwardly shameful, can not answer.

A beautiful sequence shot - organized in a manner almost theatrical, with people who appear and disappear from the picture, leaving home, entering the car, at intervals of space / time so regular that it seems almost a dance - accompanied by the some points along the narrow streets of the neighborhood coming back with shopping bags and the sounds around her grow to a peak and then silenced altogether. The woman is now insensitive to-communicative. After destroying objects at home with hysterical fury, goes out and wanders the streets. The husband will recover, a few hours later, crashed on the table in a café. The last image that gives us the director brings together the three characters together in one space (visual): parents returning to their car and their son, he went out to look for his mother on a bicycle. One could perhaps suggest that the dramatic event of the escape of the woman might have led to - or can determine in the future - positive changes in relations between the three (giving hope for recovery, in general / social, of a communication failure), but their profiles to silent, in the frame-enclosed cage, does not seem to give much space to do so. [CB - 61th Berlin International Film Festival - February 2011]

How Do You Clean A Satin Black Paint?

Surely someday

Surely someday. Directed : Shun Oguri, screenplay : Shogo Muto; interpreters : Keisuke Koide, Ryo Katsuji, Go Ayano, Ryohei Suzuki, Tsuyoshi Muro, Manami Konishi, duration: 122 '; first July 17, 2010.

Links: Official site - Mark Schilling (Japan Times)

PIA with comments 3.5 / 5 exit of rooms: 66/100

score ★ 1 / 2

This film is a typical example of seishun eiga . To understand the reasons we need to understand the intentions of the genre. Mark Schilling, in his review for the Japan Times , gives a clear definition of the term so I think that should translate:

"The seishun eiga (youth movie) is an important and enduring genre of Japanese cinema that has no exact match in the West. The difference lies not so much the issue as such - there are also films about young people in Hollywood - but rather in the quantity and approach. The Japanese entertainment industry produces each year, dozens of these movies and all, even those that are not explicitly nostalgic sketch the high school years as a special period of life that will never be repeated or equaled. From one point of view, the characters have that kind of purity and freedom that often disappears in adulthood, with its compromises and its restrictions. "I've reached the best years of high school" would be an admission of defeat for an American but a seishun eiga is often an assumption of the base, where the "best" is defined more by emotionally and in terms of goals or status, such as your first love or winning the big meeting. "

Right here would be all right, and indeed there are several examples of the kind of films that are characterized by feelings and atmosphere. Unfortunately, in most cases a seishun eiga is done not just to celebrate the fleeting and fascinating loops emotional adolescence, but rather to call and cajole the young adult male and immature as the paying public. This has some consequences for the applicants to ensure the performance of the product: a style as simple, flamboyant and lively as possible, a kind of acting iperdrammatizzata, shouted, reminiscent of the manga (the bread he grew up with that kind of public) and the presence of actors from the television drama or musical idols belonging to groups.

Surely someday it constitutionally belongs to seishun eiga so understood, that his own director, Shun Oguri, is an actor, became the darling of the teen television drama "Hana yori dango and then Crown with zero, the film that, thanks, alas, Takashi Miike, enhances the students' machismo.

The story of five high school belonging to a band who, prevented from seeing their concert, they occupy the high school and, unwittingly, to send him fire. Are suspended and appear three years later, all more or less under bankruptcy. To complicate matters involved the inevitable conflict with the yakuza, an enigmatic woman (the empty and meaningless Manami Konishi), the interrelationships with a street musician, a father of five who is a policeman (a less excessive Naoto Takenaka usual). After several adventures, all stupid fracassone and collegiate painless, the five together rediscover the spirit of "then" and understand that this is the most important thing. Fine. Both testosterone squandered in unnecessary dialogues and actions shouted excited (in this, the palm goes all'insopportabile Katsuji Ryo), no analysis, no psychology. And that is enough, apparently, to the director and the audience in Japan.

In confirmation of this type of product is important in the entertainment industry Japanese, just look at the names of the actors who play the cameos and that alone would be a great cast: Mao Inoue, Aya Ueto, Tsumabuki Satoshi, Takashi Sasano, Endo Ken'ichi and, frankly, wasted the great Ootake Shinobu. [FP]

Place Name Cryptic Quiz

Yoi ga sametara, uchi ni kaerō (Wandering Home)

ga Yoi sametara, uchi ni Kaer (酔い が さめたら, うち に 帰ろう, Wandering Home) Director and screenplay: Yoichi Higashi ; subject: dall'autobiografia of Kamoshida Yutaka; interpreters : Tadanobu Asano, Hiromi Nagasaku, Yosuke Fujioka, Kure Mori, Rieko Saibara; length: 118 '; first : December 4, 2010.

Link: Official Site - Mark Schilling (Japan Times) - Nicholas Vroman (a page of madness)
PIA: comments: 3.5 / 5 ; exit of rooms: 73/100

score ★ ★ ★ 1 / 2

Alcoholism is a subject that is often treated less or indirectly in the seventh art (how can we forget Days of Wine and Roses and Leaving Las Vegas or the recent Viyon no tsumi with Tadanobu Asano, the star of this movie) often mythologized and sometimes expression psychological distress and a much larger interior. E 'in the sense that this new film directed by Higashi Y ō ichi, played by Tadanobu Asano finally returned to high levels and a really good Nagasaku Hiromi, perhaps the one who provides the best interpretation . The film is an adaptation of the autobiography written by the journalist and war photographer Kamoshida Yutaka Tsukahara and sees the hero (Tadanobu) struggling with his daily alcohol consumption and difficult relations with the now ex-wife and mangaka Yuki (Nagasaku Hiromi), with two children and mother (KayamaYoshiko). After his last stay in hospital following a fainting for ethyl coma, is persuaded to move to a clinic where, trying to disintossocarsi, meet other stories like his.

The film is a little gem, maybe a bit 'too long, but that is definitely a breath of fresh air in the current scenario because it is a work that deals with a story and a very sensitive issue with an almost documentary style, a simple staging and a photograph in pastel colors, however, injecting moments of dazed and slightly surreal comedy. Tsukahara's obsession with the curry rice that is constantly being denied the clinic is located in a little fun and torment that goes on throughout the film. Higashi succeeds in doing so to create a light atmosphere of suspension, almost apnea, but no less acute, and even dramatic if you will, and that in the very end, with the whole family in front of the sea, turns almost lyrical.

should be emphasized that the success of the film is also due the beautiful proof of acting offered by all protagonists, and Asano Nagasaku primarily, but also that of other co-stars, including two children. Part of the merits of this amalgam is certainly given to Higashi and his troupe, and for the casting for his work on human material available. It 's not the kind of Japanese film that usually passes through the western shores, too short of spectacular and violent, too "normal", so perhaps' to be proved wrong, perhaps starting from the upcoming film events in Frankfurt or Udine. In one of those occasions, it would be also interesting to see him with another film released these days that is Mainichi kaasan (Kaasan Mom's Life), Shota Kobayashi R ō , based dall'autobiografia of Saibara Rieko, that his wife (real) Yutaka Kamoshida, the protagonist of this film. Two autobiographies, two films, the same story told from different viewpoints. [MB]

Skins Kates Playground

The death of Pope John Paul I.

Sore Throat Smelly Urine

Seaside motel

Seaside motel (シーサイド モーテル, The Seaside Motel). Directed: Kenta Moriya O; subject: from manga Yukio Okada; screenplay : Kakinomoto Ry U and Kenta Moriya O; interepreti : Ikuta Toma, As ō Kumiko, Riko Narumi, Takayuki Yamada , Nukumizu Y Oichi; length: 103 '; first : June 5, 2010.

Link: Official Site - Twitch

PIA: comments: 3.5 / 5 exit of rooms: 66/100

Score ★ ★ 1 / 2

A number of people, who alone, some in couples, who as a group, is to interact on the same night in a motel so shabby that the province has only around the mountains instead water usage in the name.

Everyone arrives at the motel in the wake of an unfortunate history that harmonizes well with the air of the place and wanted to terminate or amend or renew, and all they try, no one succeeds. The atmomsfera the different stories that intersect to make a single framework is almost a bit 'grotesque, somewhat' surreal, but overall enjoyable.

Among the ingredients that contribute to the making of this product is not particularly original but nice, is the use of narrative quell'espediente that at the end of a story it is revealed that a change the whole meaning of events just seen . Especially in the case of the story of yakuza who are chasing a debtor, the gambit works.

The other ingredient is the choice and the proper conduct of a number of actors capable. Among the men, and Takayuki Yamada Youichi Nukumizu. Among women Riko Narumi (always great) and As ō Kumiko fun in the role of a prostitute who loves sex but is still looking for love. [FP]

What Should I Do?my Dog Ate My Laxative Capsule

Film giapponesi alla Berlinale

10 to February 20, 2011 will be the 61st Berlinale . Here are the films that will be presented to the Japanese Festival.

Heaven's Story of Zeze Takahisa

Film of four and a half hours of the director known as a of the "Four Kings of Pink" for his erotic films 90s. First in the ranking of the best film magazine Eiga Geijutsu 2010 seconds and one third for Kinema Junpō, is a story of revenge that is suffering from broken many theatrical influences and involves different characters: the young survivor of a family murdered by a psychopath, a man who swears revenge for the death of his wife and son, now a cop killer to help the family of another man he killed in self-defense, a rock musician who can partially deaf for a few years to break the cycle of violence ... The film is based on a structure and surreal epic full of mysterious and strange coincidences.

Sekai Good Morning! (Good Morning to the World!) of Hirohara Satoru

Opera debut in the film, which explores the world of the feelings of adolescence. Yuta lives with his mother, always very busy, in a small apartment in the suburbs of Tokyo. His is a solitary existence 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. E ' 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.

Kazoku X (X Household) Koki Yoshida

The small gestures of everyday rituals of everyday life, shows the desperation that grows inside the microcosm of a family. The director insists on symptoms rather than on the diagnosis and track the inexorable progression of the process of alienation, along with systematic precision every gesture that the three virtual strangers do. Koki Yoshida's film, based on the specific case, alludes to the broader context of a society in which the interactions between individuals are marked by a deep malaise.

FIT of Hirosue Hiromasa

Hiromasa Hirosue's characters suffer from the pressure of social conventions that make them isolated and alone. Sagawa works for a company that deals with mail order, and every morning he performed in a personal discourse encouragement, in the mirror; Nitta lives alone with his dog and the only interaction with other people seems to have orders by mail, Tahara feels the weight of having to take care of a brother with mental problems ... Rarely is the cycle of loneliness broken by some moments of happiness. The director shows a generation in desperate fight for their individuality, and it does surprise the audience with comic ideas and changes of pace, with an original approach at times.

Byakuyakou (Into the White Night) of Yoshihiro Fukagawa

Inspired by the mystery novel "Byakuyakou" by Keigo Higashino , the film tells the story of the investigation resulting in the murder of the owner of an agency's pledge in 1980. The case was initially ruled a suicide, but the investigator who is dealing with, the detective Sasagaki, can not stop to reconsider the son of the victim, nor the daughter of the more suspect, the woman who murdered the man she had attended before die. Nineteen years after the dramatic events, he decided to reopen the case and when they discover clues that will help to clarify the circumstances the death of the owner of the agency to pledge his very life is in danger.

Vampire of Shunji Iwai

Shunji Iwai's latest work, a production in the U.S. and Canada, seven years after the last film Hana to Arisu . It 's the story of Simon Wade, a seemingly nice guy who does the teacher and takes care of her sick mother. Too bad that Simon hides a very dark side beneath the surface: in fact suffer a overwhelming thirst for new blood and this means that it is always looking for a network of sites where young people contact women aspiring to commit suicide, which drink the blood.

The director himself admits that the idea of \u200b\u200bwriting the story for this film was born about ten years ago, also postponed due to other products. Four years ago he had a new impetus, due to a news report in Japan about a guy who went in search of their victims on the sites of their own suicides. Two years later he realized that the time was propitious to finally turn the film in the United States. The director himself has composed the soundtrack.

Meshi to Otome (Food and The Maiden) of Kurimura Minoru

Food is certainly a pleasure, but it is also a burden, taking into account the need to eat every day to survive ...

The film is the story of three couples, all three problems concerning the power (read the review complete)

Jiro Sushi Dreams of David Gelb

An elderly cook / sushi master works tirelessly in his restaurant in Tokyo, with the objective of creating the perfect sushi. His son follows in the footsteps of his father's legendary restaurant.

[CB]

© Denisemilani.com

Awards and ranks - Elan d'Or Awards

Almost all premiums for 2010 were announced. Among the latter reaches the Elan D'or Awards, awarded by the film-makers, mostly Japanese and emerging actors. The best young players in 2010 are:

Kiritani Kenta

Kichise Michiko

Satou Takeru Matsushita Nao, for the drama Gegege no nyoba

Mukai Osamu, for the drama Gegege no Hikari Mitsushima nyoba

Best Film 2010 was Kokuhaku (Confessions), of Tetsuya Nakashima

Relashionship Counter

Kuronezumi (Black Rat)

Kuronezumi (クロ ネズミ, Black Rat). Directed: Kenta Fukasaku; screenplay : Futoshi Fujita; interpreters : Yonemura Misaki, Hiroya Matsumoto, Rina Saitou; duration: 76 '; first : June 5, 2010

Links: Official site - ddd

score ★ ★

The mouse is the first animal of the zodiac associated with the abundance of ancient rice harvest, those born under the sign of the mice were thought to be taken to make good money ... Kenta Fukasaku chose the animal symbol of his films is no coincidence, it seems, because it is a work rich. Of deaths and surprises, not least, like any self-respecting horror.

The story begins - significantly after introduction of a horror bloody and battered body that you drag to escape her attacker - a text message received by a group of six students from Asuka, and their companion friend, who committed suicide. The message invites you to meet at one o'clock at night in deserted classrooms of the school. The boys are to welcome the appointment a person wearing a disturbing mask rats and that will make them the subject of fierce attacks and for the most deadly, in order to implement an unspecified revenge of the dead girl.

Throughout the movie are part of the narrative structure of many flashbacks that deepen the relationship between the boys. Why rats? Because they are part of a nursery rhyme (a little 'to the Agatha Christie ...) and Asuka, the naïve friend would have wanted to stage for the school party. Asuka was not a girl like the others, had a perpetual smile so much as it is disturbing and often isolated from the group was on his way too naive and a little 'left to stand.

The flashbacks bring into light the deep feelings of loneliness and the difficulty of inserting a person substantially "Different."

comes to mind then that even a film like Kuronezumi - at first quietly nestled in the genre "horror among students" - will emerge some trace of that criticism against the company (Japanese) who had large (and discussed) one of the last film of the father of Kent, Kinji Fukasaku, namely Battle Royale (2000), written by father and son together, which was then followed Battle Royale II: Requiem (2003), co-directed by Kenta.

There was the theme of the repercussions of a violent system that is passed down from generation generation, hence the loneliness and emptiness of the soul of young Japanese are incapable of effective relationships with the group around them, at ease in staging an 'appearance' of relations.

The naive girl arrives with a smile facade - she herself admits that her smile is not tied to being really happy - that troubled the rest of the group, you are ridiculed and isolated and will eventually kill; Fukasaku offers a fast and continuous change of identity, it is difficult to understand who is actually there under the guise of mice. Reports of the facade, they said. Even the characters that the director sets are almost caricatures: the handsome, the girl pretty bored, the scholar ...

The framework proposes that the director of the young generation of Japanese is desperate.

Some sequences are, in my opinion worthy of note, for example those in which the camera leaves the scene of the action and wander along the deserted corridors and dark. Or the assembly sequences, offering different images in succession: the sky, a metal fence, a bucket with a flower, a pigeon .... As if to give time for reflection, while the massacre - and the callous cruelty of society - are continuing their course.

chases, the memories, the plot twists that lead to the epilogue, in the best tradition, focuses at a glance. Almost a final "to Caligari" in Vienna: the look of the survivor / murderess / friend who is a sufficiently ambiguous smiles and thereby suspend the games, but leaves door open to possible further interpretations. [CB]

.

34 Wk Pregnant Belly Buttons

Awards and ranks - Blue Ribbon Awards

Renji Ishibashi

At the end of the season awards come the Blue Ribbon Awards, awarded for 53 years by journalists in this part of the seven major sports newspapers in Japan.

Best film was Kokuhaku (Confessions) by Tetsuya Nakashima

Yoshino Kimura

Among other awards, please note the appropriate recognition for the extraordinary Renji Ishibashi acting in Kondo wa aisaika :

Best Director: Ishii Yuya for Kawa no soko kara konnichiwa (Sawako Decides)

Best Actor: Satoshi Tsumabuki for Akunin

Best Actress. Shinobu Terajima ( Caterpillar)

Best Supporting Actor: Renji Ishibashi for Kondo wa aisaika

Best Supporting Actress: Yoshino Kimura for Kokuhaku

Big Brest Shoing Womens

Permanent Nobara

Permanent Nobara (パーマネント 野ばら, Permanent Nobara). Directed : Daihachi Yoshida; subject: from manga Saibara Rieko; screenplay : Satoko Okudera; photo: Ryuta Kondo; interpreters : Miho Kanno, Mari Natsuki, Eiko Koike, Ikewaki Chisuru, Yosuke Eguchi); duration: 99 '; first : May 22, 2010.

PIA: comments: 3.5 / 5 exit of rooms: 73/100

Links: Official site - Film Business Asia - Japanese Film Writings (Frank Witkam)

score ★ ★ ★

"Permanent Nobara" is the name of the salon for women - run by Mrs Nobara precisely (Mari Natsuki) - a small fishing village on the island of Shikoku. Deep province, static social and relational nature beautiful (very well photographed). In the hall, the center of gossip, she finds herself almost every day a group of middle-aged women, joined by Naoko (Miho Kanno), the daughter of a hairdresser back home with his daughter after the divorce, and her two childhood friends (Koike Eiko and Ikewaki Chizuru). All women, young and old, share experiences and loving marriage Bankruptcy and indeed the world of men, which is outlined in episode episode is made up of men rude, immature, profiteers. Even the new boyfriend of Naoko, a handsome high school teacher and measured (Yosuke Eguchi) seems to show signs of unreliability. Yet despite the repeated disappointments, sometimes tragic, all women, are able to retain almost stoically the will to live and try to smile and above all still love. Love, whatever it is, is better than no love. Love is life, seem to say. Nothing but rhetoric is the protagonists nor the eye of the director. After all, in fact, Yoshida seems to be saying that under the placidity the daily chatter, the apparent shallowness of women, there is often a tragedy, of which the main characters themselves are aware.

The delicate but also a bitter portrait of this microcosm of women, always suspended between tragedy and irony, refers in part to the atmosphere of the film Ogigami Naoko (not only but also Barber Yoshino Kamome Shokudō ) and for some dream scenes and surreal, the Oguri Kōhei of Umoregi . There is no beginning and no end of history. The film is a sensitive description of a stage, a piece of life of the various women portrayed. Yoshida confirmed author to follow.

film actresses, all very well directed, on which stand Miho Kanno in the title role and the great, underrated, Ikewaki Chizuru. Eiko Koike also in other films gross, manages here to provide a credible character. [FP]