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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