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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