Welcome to the annual blog update. Another year is nearing its end and… I have to say that, in terms of personal stuff, 2021 has been even worse to me than 2020. There has been a lot of personal drama going on, a lot of stress and worries, and the pandemic situation in my country to top it all off, but in the midst of it all, I somehow managed not to give up blogging and I even maintained publishing pace from the previous year.
With regard to maintenance misadventures, regular readers already know this, but I was forced to change the email delivery service. I wrote about this in greater detail here. I have also started adding reviews to IMDb. What is more, I have updated the email subscription widget which can be found at the bottom of the main site. Also, I had to switch off the option enabling anonymous users to comment under blog posts. This was caused by recent spam postings, so I am hoping that this measure is going to be only temporary.
Additionally, I think that this blog update is a good opportunity to share some statistics with you all. That is to say, the most read post of 2021 was Tezuka’s Barbara review (519 views). I had no idea that the fandom of Osamu Tezuka is so strong out there! Close second was Tengoku to Jigoku: Psychona no Futari review (490 views). The least popular review of 2021 was that of Citizen Kitano documentary (mere 31 views), but I know it’s a bit unfair towards that text because it was published a couple of weeks ago rather than months. As for the most all-time read post, the grand prize goes to… The Negotiator The Movie review (1026 views)! I guess Ryoko Yonekura would definitely feel proud that her first theatrical movie (albeit mediocre) is so popular amongst readers of Watching Asia blog xD
I am still thinking about whether or not to make YouTube videos. Instead of putting my time and effort into doing video editorials (which basically gain less views than my traditional blog pieces), I would like to turn my channel into a freewheeling type of thing, where I could discuss a variety of topics and even show off my physical media collection. In my previous blog update, I mentioned my intention to discuss North Korean movies, and I will most certainly do that, not as separate blog reviews, but as a series of special editorials.
That’s it from me at the moment. As always, Thank You for being here. Running this blog for the past few years has been a humbling experience which allowed me to stay sane in the midst of real-life insanity. I send you warmest wishes. Please keep on appreciating the grandeur of East Asian Cinema. As Senbon Nokko used to say, “Tomorrow is another day!”
This is the second batch of 2021 editorials which I posted on my blog as well as other sites devoted to Asian cinema and dramas. As I have explained in my original post, I do not want to have subscribers of my blog (especially those from the mailing list) missing out on the content that is posted elsewhere. Therefore, I am providing a concise update about my publications in a post form. This batch includes articles and special reviews published between May and December 2021. I hope that you will enjoy these and please feel free to share your thoughts either via email or in the comments. In addition, if you have missed important news about me changing blog subscription options, then please head over to this post. I have moved the email subscription widget at the bottom of the blog's main page.
Asakusa Kid; or, Make’em Laugh Listen, Take. Don’t suck up to your audience. You tell them what’s funny. I have been waiting patiently for over a year and finally the movie is out! I refer to Netflix’s latest production Asakusa Kid, which is based on an autobiographical novel by none other than Takeshi Kitano himself.
Language: JapaneseOriginal Title: 浅草キッド Runtime: 123 min
Synopsis In 1965, young Takeshi (Yuya Yagira) dropped out of college. He searches for work in the popular Asakusa district. He eventually becomes an elevator boy at France-Za, a club owned by Senzaburo Fukami (Yo Oizumi) who is a revered comedian in the vicinity. Takeshi begs Fukami to teach him the art of comedy, and the owner reluctantly agrees. Gradually, Fukami discovers Kitano’s talent for on-stage performances.
In Pursuit of Dreams Asakusa Kid is not so much about the whole career of Takeshi Kitano, but rather it focuses on the legend’s humble beginnings. It is a touching story centering on a relationship between a mentor and his student. We see how “Take” learns tap dancing, performance wit, and comedic timing. Eventually, he becomes “Beat” Takeshi we all know and love, but this kind of transformation comes with a price.
If I were to make a cheesy cinematic comparison, I would say that Asakusa Kid is a heartbreaking callback to Rocky V (1990), but the difference is that the movie we discuss is based on real events. Consequently, we are given an insight not only into Takeshi Kitano’s trials and tribulations as a young comedian, but also into the world of Japanese stage comedy of the 1970s. From erotic cabarets to manzai skits, the realm of entertainment outside of Television (which was a groundbreaking novelty at that time) feels stale and outdated. This stark contrast marks a conflict between Master Fukami who clings to the traditional stage and Take who desires to make a name for himself.
I really have to give a shout out to top notch production design. Just as with The Naked Director drama, the viewers are transported back in time to Japan of pre-Bubble era. Interestingly, apart from a closing song by Keisuke Kuwata, we can also hear Takeshi Kitano himself singing the Asakusa Kid song. The music from the master himself really enhances the film’s finale.
With regard to performances, Yo Oizumi really steals the movie with his wonderful portrayal of Senzaburo Fukami. You can’t help but feel the character’s pain, especially in the second half of the story. Additionally, Yuya Yagira is amazing as young (and old) Takeshi Kitano. He got all the tics and mannerisms right. Additional praise goes to supporting actresses, in particular, Mugi Kadowaki as Chiharu and Honami Suzuki as Mari.
Recommendations All things considered, Asakusa Kid is not about gore, violence, and exploitation, which were so popular in the 1970s. It is a delicate coming-of-age tale about a student who feels indebted to his wonderful teacher. By knowing Kitano’s beginnings, you become more appreciative of his cinematic endeavours. This movie is definitely worth a try.
Overall score: 9/10
«Enjoyed this post? Never miss out on future posts by following us»
House of Flying Daggers; or, Triangle Love Affair I want the wind to stop and think. House of Flying Daggers is one of the few Yimou Zhang’s movies which I own on physical media. Still, it has taken me a couple of years to get myself round to watching it. Is it a decent wuxia feature? Let’s explore the film together.
Release Info
Directed by: Yimou ZhangStarring: Zhang Ziyi, Takeshi Kaneshiro, Andy Lau
Language: MandarinOriginal Title: 十面埋伏 Runtime: 119 min
Synopsis China, the second half of the 9th century marks the decline of the Tang Dynasty. The changing political climate leads to the emergence of a rebel group opposing the Emperor known as the House of Flying Daggers. The imperial police relentlessly hunts down the deadly group. Two captains, Leo (Andy Lau) and Jin (Takeshi Kaneshiro), suspect that a blind dancer Mei (Zhang Ziyi), at their local Peony Pavilion, may be a member of Flying Daggers. They arrest the girl, but Leo wants to up the game and expose the whole group. He encourages Jin to stage Mei’s rescue from the prison. Jin does not realise that he will fall for the charms of the beautiful girl…
Into the Woods Director Yimou Zhang started working on House of Flying Daggers right after wrapping the post-production of Hero (2002). It comes as no surprise that both wuxia spectacles function as companion pieces in terms of stunning visuals, the usage of colour, and stunning cinematography.
Interestingly, the late actress Anita Mui was supposed to play a big part in the film, but the plans fell through because of her untimely death in 2003. This led Zhang to slightly alter the script, which unlike Hero (2002) or Curse of the Golden Flower (2006), focuses more on the love story aspect rather than martial arts.
From the first confrontation in the Peony Pavilion to Jin and Mei’s arduous journey through the woods, House of Flying Daggers becomes a compelling, Shakespearean tragedy about the pitfalls of passion and lust. The storyline in itself is pretty straightforward but the masterful execution made me feel as if I am reading an ancient Chinese tale.
This is not to say that the movie is absolutely flawless. It came out at the height of Matrix films’ popularity, which undoubtedly influenced the CGI sequences. Although these did not age badly, they unfortunately give off an uncanny feeling upon modern viewing. Still, the camera work and the brilliant usage of white, yellow, and green are outstanding to date.
With regard to performances, Zhang Ziyi is undeniably at her prime here. I am convinced she would have been a perfect choice to play Mulan had there been a Chinese adaptation in the mid 2000s. Andy Lau repeats ambiguous vibes from the Infernal Affairs trilogy because we see him as a character operating from the shadows. Takeshi Kaneshiro is brilliant as Jin, who undergoes a change from a sleazy drunkard to a loving warrior.
Recommendations If you are not into action-packed wuxia tales directed by Yimou Zhang, then give House of Flying Daggers a try. It is a beautiful love story perfect for a peaceful Sunday afternoon. My DVD edition from Fox also contains an audio commentary by Yimou and Ziyi with English subtitles. The end credits contain an in memoriam dedication to Anita Mui.
Overall score: 7/10
«Enjoyed this post? Never miss out on future posts by following us»
We really fear another war might break out at any time. I have lived a life full of mistakes. I regret my mistakes, but I want to move forward in a better direction. We must not allow another war. I can’t die until I’ve delivered that message. ~ Nobuhiko Obayashi
In my personal opinion, there are not many film directors nowadays who truly deserve the title of an auteur filmmaker. Overzealous critics and fans rush to praise a particular director just because of the sole fact that his/her movies have great box office returns. Nevertheless, being an auteur primarily requires having a distinct cinematic style. With the usage of avant-garde cinematography, surreal visuals, postmodernist narrative as well as blending of animation, CGI and live action, the late Nobuhiko Obayashi can without a doubt be called an auteur artist with a strong lust for life. This is my retrospective article about the director’s famous anti-war trilogy made between 2012 and 2017.
In order to fully understand the messages conveyed in Casting Blossoms to the Sky (2012), Seven Weeks (2014), and Hanagatami (2017), we should take a closer look at Obayashi’s personal life. Nobuhiko was born in 1938 and, from an early age, he and his peers were indoctrinated to support the war efforts of the militarist government. When Japan carried out a successful attack on Pearl Harbor, Nobuhiko even made a drawing presenting bombs being dropped on Winston Churchill and Franklin Delano Roosevelt. However, the war frenzy reached an end in 1945 when the United States dropped “Little Boy” and “Fat Man” on Hiroshima and Nagasaki. It is at that time when Nobuhiko realised the true meaning of war. The citizens of Japan were so brainwashed by their leaders that they were convinced the Allied Forces will lead to a complete and total annihilation of their country. Obayashi was afraid that for this reason only his mother might kill him and herself, just to avoid being executed by the Americans. In a touching NHK documentary from 2019 Nobuhiko Obayashi: His Promise, the director recalls these wartime memories and shows a photograph of his mother.
After the war, when Japan entered the stage of rebuilding itself under the watchful eye (and cultural influence) of America, young Obayashi started learning the filmmaking craft, initially making experimental short films and TV commercials. It was not until 1977 when he made the breakthrough into the mainstream with his debut feature film House; arguably, the first and only Obayashi’s movie that is recognised and enjoyed by horror fans in the West because of its off-the-wall aesthetics and unconventional storyline.
From this point forward, Obayashi was churning out coming-of-age movies with popular idols in leading roles, such as I Are You, You Am Me (1982), The Girl Who Leapt Through Time (1983), Lonely Heart (1985), His Motorbike, Her Island (1986), etc. It was in the year 1990 when on set of Dreams he met his mentor Akira Kurosawa who encouraged him to pursue anti-war themes in his pictures. As Obayashi explains, Kurosawa had an unwavering belief that movies about the painful past can change the course of the future.
Casting Blossoms to the Sky from 2012 feels like a time capsule of testimonies made by people who experienced the atrocities of war in Nagaoka in 1945. We follow journalist Reiko Endo (Yasuko Matsuyuki) as she explores the city and collects memories of its residents. Some lost loved ones in the course of air raids, whereas others were badly injured. We learn that mock-ups of the atomic bombs were dropped on Nagaoka because the Americans were already practising before obliterating Hiroshima and Nagasaki. However, are Americans the only ones to be blamed? Obayashi condemns the futility of war, and especially of Japanese pride of partaking in this madness, in a series of striking visuals which constitute a stage play prepared by the people of Nagaoka. The movie concludes with a real Nagaoka Fireworks Display in memory of victims of Pearl Harbor attacks and of the US air raids. Both sides should reconcile and learn from their past mistakes.
Interestingly, Seven Weeks (2014) takes the theme of reconciliation and nostalgia to another level. The main protagonist of the film is Doctor Mitsuo Suzuki (Toru Shinagawa) who passes away at the age of 92 in the town of Ashibetsu. His sister (Tokie Hidari), grandchildren (Saki Terashima, Takehiro Murata, Yutaka Matsushige), great-granddaughter (Hirona Yamazaki), and former employee (Takako Tokiwa) gather together to perform mourning ceremonies. However, not everything goes according to plan. What exactly were the circumstances of Suzuki's death? It is up to the relatives to discover the traumatic past of young Suzuki who was fighting the Russians in Sakhalin, back when it was still under Japanese jurisdiction. Although the war ended in August, 1945, the surrender order did not reach Sakhalin until September 5. For Mitsuo, other soldiers, nurses, and residents of Sakhalin, this is the real date when the war ended. In Seven Weeks, Obayashi takes great advantage of flashbacks, sifting narratives, and visuals reminiscing magical realism. In consequence, this is not just a story about atoning for past sins, but also about the possibility of reincarnation. Where do we come from and where are we going? Obayashi answers these questions by stating that behind each death there is a new birth. Something has to end so something new could begin. Life is a journey that has to be cherished rather than wasted on unnecessary suffering. The story of Sakhalin nurses commiting a group suicide to avoid the Russian invasion is especially chiling.
Last but not least, Hanagatami (2017) can be regarded as Obayashi’s anti-war magnum opus. Inspired by Kazuo Dan’s novel, the director was developing the project for 40 years, and when he finally got the budget to make it, he was diagnosed with lung cancer. Although he was projected to have three months to live, this did not stop him from shooting the film and even working on a new project, Labyrinth of Cinema (2020), which turned out to be his final picture. In His Promise documentary, we can see frail Obayashi, supported by his wife Kyoko, relentlessly giving instructions to the cast of Hanagatami via walkie-talkie. He even had the strength to go to a festival in Paris and promote the film! The movie itself can be best described as a performance art caught on camera. Nobuhiko explains that he did not do any rehearsal with the actors and actresses in order to capture their genuine reactions and expressions. What is more, the way Hanagatami was shot is also interesting. To compensate for his small budget, Obayashi breaks nearly every filmmaking convention and, as a result, we get CGI landscapes, artificial camera pans, rapid zoom-ins, and mirrored angles of certain shots.
Hanagatami is not a motion picture but rather a visual poem that pulls you in with its rawness and wickedness. This is Obayashi’s harsh statement against the foolishness of youth. In the film, we follow Toshihiko Sakakiyama (Shunsuke Kubozuka) who attends a school in Karatsu and frequently encounters his colleagues (Shinnosuke Mitsushima, Keishi Nagatsuka, Tokio Emoto) as well as his aunt Keiko (Takako Tokiwa) and ailing cousin Mina (Honoka Yahagi). On the day when Pearl Harbor is attacked, Toshihiko can’t help but celebrate. However, this is also the day that marks the death of Mina. Together with her death, all of the other characters lose their innocence in face of the upcoming war with America. “I’ll survive in the red, setting sun of Manjuria,” repeats Keiko the words of her dying husband as if foolishly believing in the success of the Japanese East Asian Order. During an English class, Toshihiko asks his nihilistic friend Kira: “What will happen if Japan goes to war with the country of Edgar Allan Poe? We won’t be able to read Black Cat anymore.” Obayashi answers to viewers that only death awaits all the young men who go to war. Toshihiko has the luck of being one of the few soldiers who survived the traumatic period, but at what cost? As an elderly man, does he fear death? Does Nobuhiko Obayashi himself fear death? In the final scene of the film, the actor playing Toshihiko appears actually as Nobuhiko and ponders on this troubling issue…
All things considered, exploring Nobuhiko Obayahi’s anti-war trilogy was quite an experience for me. After these three films, each running well over two and a half hours, you will find yourself questioning your very existence. That’s Nobuhiko Obayashi for you. In His Promise documentary, we can see him walking the streets of Paris and exclaiming: "The sky is always blue!" Only this man could have made such a trilogy in modern-day era (because Masaki Kobayashi did it first with The Human Condition) which questions and evaluates the Japanese wartime past as well as serves as a warning for future generations. My thanks go to Third Window Films for sharing the movies with me. Without their support, I would not have been able to write this article. On the 13th of December, they are going to release the trilogy in a limited Blu-Ray set which will also include making-of featurettes and interviews with Obayashi. In the meantime, I leave you with the words from the master himself. Thank you for reading:
I was diagnosed with stage 4 cancer and given three months to live. I am not supposed to be here, but I am still alive. The legendary Akira Kurosawa left a message for me and for the world’s future film directors. I stand before you today risking my life to pass that message on to all of you: The beauty and power of film can save the world from war and lead it toward peace. If you can’t do it, your children can. If not, your grandchildren can continue, little by little. Then, one day, 400 years from now, someone will make my movie and the power of film will erase all wars from the world. ~ Nobuhiko Obayashi (June, 2017)
«Enjoyed this post? Never miss out on future posts by following us»
Citizen Kitano; or, A Tribute to the Auteur! I intentionally shoot action to make the audience feel real pain. I have never and I will never shoot violence as if it’s some kind of action video game. It goes without saying that Takeshi Kitano gained widespread international attention in the 1990s, but French occupation with the Japanese director should be categorised as a separate phenomenon. Apart from releasing Kitano’s productions on the European market, France would also translate his books and collections of essays. Yves Montmayeur’s 2020 documentary called Citizen Kitano is yet another proof of how much the Japanese legend is revered there. Let’s see together how it holds up.
From Street Kid to TV Star I was lucky enough to catch the documentary on the Canal+ channel in my country. The documentary lasts slightly over 50 minutes, so it is not a lot of time to cover Kitano’s rich cinematic legacy, but Citizen Kitano manages to get through the major points in a succinct way.
We start off with Kitano’s childhood. Where he came from and what his background was. These memoirs are accompanied by animation clips as well as old photos. Then, we move on to his stage endeavours as ‘Beat’ Takeshi and a career on Television in the 1980s. This part of the documentary includes a lot of previously unknown archive footage from Kitano’s reality shows. What is more, the narration is accompanied by insightful interviews from Kitano himself as well as actress Kayoko Kishimoto, director of photography Katsumi Yanagijima, and journalist Michel Temman.
The interviews are undoubtedly the best part of the documentary as they present the fans with new information on the elusive figure of Kitano; however, the director’s “pretentious” (for lack of a better word) narration is unforgivable. It seems as if Yves Montmayeur relentlessly tries to frame Takeshi, with the usage of inventive adjectives and comparisons, as a kind of an underdog battling the disbelievers who fail to recognise his creative talent. Indeed, Kitano had a hard time transitioning from the realm of TV to cinema, and his movies did not sell well in Japan, but it does not mean by default that the whole public perceived him as an misunderstood outcast.
The part of the documentary which covers Kitano’s movies also leaves a bit to be desired. Montmayeur focuses primarily on Kitano’s popular yakuza flicks, such as Violent Cop (1989), Sonatine (1993), and Hana Bi (1997) as well as the director’s intertextual pieces like Takeshis (2005) and Glory to the Filmmaker! (2007). However, Kitano’s sensitive side reflected in A Scene at a Sea (1991), Kikujiro (1999), Dolls (2002), and Achilles and a Tortoise (2008) is barely scratched.
Still, I admire that the documentary shows off Kitano’s activity as a painter and modern commentator on the political and social issues in Japan. We even get a short interview with the Governor of Tokyo, Yuriko Koike, who describes her encounter with Kitano dressed up as Donald Trump.
Arguably, the most interesting and heart-warming statements come from Kayoko Kishimoto who has collaborated with Kitano since the 1980s. The actress really manages to capture the multifaceted image of the director who is either hated or loved by cinemagoers.
Recommendations All things considered, if you are a die-hard fan of Takeshi Kitano, you probably will not get a lot of new info out of this documentary. Still, it is worth checking it out for the interviews and archive footage. Dear Netflix, I am still waiting for the live-action movie inspired by Kitano’s life. Don’t disappoint me!
Overall score: 7/10
«Enjoyed this post? Never miss out on future posts by following us»
Joint Security Area; or, Incident at a Frontier Three minutes into the war, both countries would be destroyed. Joint Security Area is a 2000 mystery thriller based on the novel DMZ by Park Sang Yeon and directed by the awesome Park Chan Wook. The movie became an instant blockbuster at the time of the release and also gained critical acclaim due to its controversial subject matter. The picture provides a striking evaluation of the 50 years of history since the outbreak of the Korean War.
Release Info
Directed by: Park Chan WookStarring: Lee Byung Hun, Song Kang Ho, Lee Young Ae
Language: KoreanOriginal Title: 공동경비구역 JSA Runtime: 110 min
Synopsis Major Sophie E. Jean (Lee Young Ae) is a Swiss Army emissary sent by the Neutral Nations Supervisory Commission to investigate a shooting incident in the Demilitarized Zone. Sergeant Lee Soo Hyuk (Lee Byung Hun) claims to have been kidnapped by the North Korean officers, which resulted in a shoot out in a border house. However, North Korean survivor of the incident, Sergeant Oh Kyung Pil (Song Kang Ho) states that Lee singlehandedly attacked their outpost. In the course of her investigation, Major Jean discovers that both men are not telling the truth. What really happened at a small outpost in the middle of the night on the 28th of October remains a mystery…
Enemy at the Gates To be honest, I was totally blown away by the movie when I saw it for the first time. Joint Security Area is definitely not a standard Korean flick with lots of thrilling action and high doses of melodrama. In fact, director Park Chan Wook crafted a haunting Rashomon-like story which shows that the Korean people can rise above the political boundaries.
I checked out the film while doing my research for the MDL article "Through the Looking Glass: Inter-Korean Relations in South Korean Fiction," co-written with my friend Seonsaeng (I hope that we will finish it someday). Indeed, Joint Security Area is an excellent introduction into the relations between the South Koreans and the North Koreans.
The movie does take sides and it does not demonize the main protagonists. I try to keep my reviews spoiler-free, and in this case, I do not want to reveal the plot twists, but let me just say… OMG. Joint Security Area hits all the right marks. It is that awesome! So many memorable scenes and so many wonderful quotes! It is not surprising that South Korea's President Roh Moo Hyun gave Kim Jong Il a DVD version of the film in 2007.
With regard to performances, the film obviously would not have been so wonderful without excellent casting. Lee Young Ae is great as Major Jean, a heroine with intriguing past who searches for the truth, I definitely need to check out more movies and dramas with this actress. Lee Byung Hun is also amazing as Sgt. Lee (but still, to me, he will always be "the Bad" from The Good, The Bad, The Weird movie). However, Song Kang Ho provides such overload of charisma that he simply steals the show. You will always be the greatest! In addition, Shin Ha Kyun also appears the film in a memorable supporting role as Pvt. Jung Woo Jin.
Recommendations I recommend Joint Security Area to anyone who would like to discover more information on the complex relations between South Korea and North Korea. This motion picture is an undeniable classic. I hope that someday I will be able to see on my own eyes the crossing at Panmunjom. Last year, Arrow Video released the movie on Blu-Ray in a beautiful edition.
Overall score: 10/10
«Enjoyed this post? Never miss out on future posts by following us»
Under The Open Sky; or, Homecoming We'll face our fate. But you still have this chance. You have to be patient out here. Patient with few rewards. But at least, you can live under the open sky. Mikami-san, don't ruin this chance! When it comes to slice-of-life dramas currently made in Japan, only Miwa Nishikawa matches the greatness of Hirokazu Koreeda. She may not churn out as many movies as her fellow collaborator, but it does not mean that these are lesser works of art. This is my review of her latest film called Under The Open Sky.
Language: Japanese Original Title: すばらしき世界 Runtime: 126 min
Synopsis Masao Mikami (Koji Yakusho) is an ex-yakuza who just finished serving 13 years in prison. He regains his freedom and wants to lead an honest life, but reality is not so simple for a former convict. Masao struggles to find a job and even socialise with people. What he only knows is the life of crime. Hoping to find his long lost mother, he applies for a TV show and meets a young TV director, Tsunoda (Taiga Nakano).
Coin Locker Baby In my opinion, Under The Open Sky gives strong Ryu Murakami vibes but without gore and extreme violence. What I mean is that the film presents a powerful slice-of-life drama, exposing yet another topical problem which is not discussed among the Japanese public. While many classic films like Abashiri Prison (1965) or The Yellow Handkerchief (1977) praise reintegration of an individual into a society, Miwa Nishikawa takes us on a visual journey which analyses the validity of that process.
It is disheartening and touching at the same time to watch the main protagonist trying to get a grip on himself. There are so many wonderful scenes in the film, but my definite favourites will be: driving lessons, a personal conversation with Mrs Shimoinaba, and singing at an orphanage.
Koji Yakusho is absolutely brilliant in the leading role as a man who wants to change his life for the better but encounters many unexpected obstacles. His performance is undeniably the driving force of the picture, so it comes as no surprise that Koji won in Best Performance category at the Chicago International Film Festival.
The rest of the cast is also amazing. We get to see such veterans in the supporting roles as Isao Hashizume, Meiko Kaji, Narumi Yasuda, and Midoriko Kimura. Interestingly, Masami Nagasawa herself also briefly appears in two scenes, but her role does not extend beyond that. Taiga Nakano has a wonderful onscreen chemistry with Koji Yakusho.
Recommendations Had it not been for the painfully predictable ending, I would have called this movie one of the best releases in 2021. The screenplay is wonderful, characters memorable, and cinematography so natural and picturesque. As a viewer, you just can’t help but champion Mikami’s personal fight for a better life.
Overall score: 8/10
«Enjoyed this post? Never miss out on future posts by following us»
Beyond the Infinite Two Minutes; or, Time Is But a Window That's exactly what happened! I became me and me. There was me and then me further back. I got home, and my future self greeted me! Whoa, chotto matte kudasai! Japanese Cinema and time travel concept?! Yes, Japan CAN bend time and space without breaking your suspension of disbelief, in contrast to overblown Hollywood productions. I’m talking about a little, inconspicuous at first glance, movie called Beyond the Infinite Two Minutes directed by Junta Yamaguchi and written by Makoto Ueda. Please bear with me, dear readers, because this movie is a gem to be treasured and easily one of the best productions of 2021. Let’s synchronise our watches and explore it together.
Release Info
Directed by: Junta YamaguchiStarring: Kazunari Tosa, Riko Fujitani, Aki Asakura
Language: JapaneseOriginal Title: ドロステのはてで僕ら Runtime: 70 min
Synopsis Kato (Kazunari Tosa) is the owner of a small café. His apartment is actually located one storey above the café. After a whole day of working, he returns to his flat only to discover that on his computer monitor there is an image of himself. Kato realises that his PC monitor shows what will happen two minutes in the future. What is more interesting, another screen downstairs in his café shows the past of two minutes ago. Kato and his friends place the two mysterious devices opposite each other, which creates an infinite loop, allowing them to see into the future beyond the limit of two minutes. Obviously, this uncanny situation is going to lead to many hilarious situations, moments of danger as well as paradoxes...
Back to the Present Beyond the Infinite Two Minutes starts off like a typical, peaceful slice-of-life drama, but do not let the appearances fool you. During the first 5 minutes of the film, it becomes apparent that this is a spiritual successor of One Cut of the Dead (2017), in terms of both the execution and a wild storyline.
The first half of the picture really goes at lengths to meticulously explain to viewers what on earth is happening on the screen. It goes without saying that the screenwriter was really into hard science and fantasy, which translated into movie language really well. Basically, the filmmaking team took the concept of Droste effect and gave it a time-travel spin. The only other movie I think of in which this idea was used is Escape from the Planet of the Apes (1971).
Think of Beyond the Infinite Two Minutes as the light-hearted, comprehensible, and low-budget version of Christopher Nolan’s Tenet (2020) which compensates the lack of IMAX visuals with witty dialogue, heart-warming characters, and a touch of romance. The premise of the film is not so much meddling with time as in Back to the Future (1985) but more like blurring the boundaries between cause and effect as in Predestination (2014).
From the technical standpoint, I really have to praise the crew not only because of the fact that they went with one continuous shot method, but also because they shot the entire movie on a smartphone! Short making-of compilation during the end credits really shows hard work and passion of the makers.
With regard to performances, the cast is mainly composed of actors and actresses who up until this point in their careers played mainly secondary or guest roles in movies and jdramas. Huge respect to Kazunari Tosa as Kato, the main protagonist. I also loved the performances of Riko Fujitani as Aya, Kato’s easy-going employee, and Aki Asakura as Megumi, Kato’s neighbour and love interest.
Recommendations All things considered, Beyond the Infinite Two Minutes is one of those movies for which I wish I could turn back time and “re-experience” for the first time over and over again. What made me watch it? Why I keep watching it? The cause became the effect and the effect became the cause. Maybe my future self in two minutes will explain the whole wibbly wobbly timey wimey affair to me (*laughs like Hououin Kyouma*)! Please make sure to hop into your DeLoreans and grab a region-free Blu-Ray/DVD release from Third Window Films, which comes out on the 15th of November! Bonus features include Howling: a short film, making-of featurette, and an interview with director Junta Yamaguchi.
Overall score from 2 minutes in the future: 10/10
Overall score from 2 minutes ago: 10/10
«Enjoyed this post? Never miss out on future posts by following us»
