Asian Movie Pulse

Documentary Review: Femininity (2020) by Mosen Ostad Ali

Tue, 19 Jan 2021 10:30:00 GMT

In his third, but first documentary feature, Mosan Ostad Ali continues the recent legacy of Iranian films that present brutal truths in the most artful and realistic way possible.

The documentary focuses on an establishment that provides nightly shelter for women who abuse drugs, with the two women who run it also offering counseling, along with some seminars about sexual conduct, since a number of these women are sex workers, that also includes the offering of syringes and condoms.

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The documentary focuses on five women, Sanaz, Saedeh, Tala, Ladan and Beheshteh, whose stories are as harsh as they are realistic. One (maybe a transsexual) has been kicked out of her house after beating her father, ending up in the streets where she frequently offers sex in exchange for drugs. Another one has suffered on the hands of justice, and is trying to raise enough money to rent a house and bring her family back again. Another is a compulsive thief, two others have been together since the younger of them was three years old, sharing their time on the streets, in prison and wherever their tragic fate brought them.

Listening to their stories is heartbreaking as it is shocking, as most of them have experienced drug abuse, imprisonment, domestic violence, prostitution, and are obviously suffering from mental issues, also having to do with their sexual identity, but most of all, with despair. As we listen to one saying, “All I want is a roof over my head and to be able to switch the light on and off”, it is rather difficult not to be touched by the lives of these women who live in the borders of a society that is bankrupt in ways more than the financial.

The women who ran the asylum do their best to help, with their efforts being literally heroic. However, there is so much they can do, since their lack of funding is more than evident, as mirrored in the rundown establishment, which provides, though, a shelter and a place of solace for women who would sleep in the streets otherwise. Inevitably, as all these women have learned to fight even for the smallest scrap, violence is also frequent in the shelter, a tendency that makes the job of the caretakers even more difficult. The apathy the rest of the women show each time a fight commences is rather indicative of their overall mentality, while a scene during the ending, when one of them lashes against the crew for exploiting their misery, also speaks volumes.

In this setting, the title of the documentary seems ironic, particularly considering the way the term is perceived in the West. At the same time though, and particularly through the last scene, the fact that these women also feel the need to look pretty and take care of themselves physically also becomes obvious, in a comment that is also highlighted through the way DP Farhad Talebinezhad’s camera frequently focuses on their hands and particularly their manicured nails.

The many close-ups, particularly inside the asylum, work quite well in the narrative, allowing the viewer to feel as if he/she was almost present during the interviews, while the long shots also aim to show the lives of these women outside of the asylum, and the overall situation of the “slums” of Tehran. Babak Heidari’s editing also works quite well, with the many changes in the person of focus and the way the story flows from one individual to another being one of the best aspects of the film.

Mosen Ostad Ali tried hard not to succumb to the tropes of “misery porn”, by also showing that the women share some moments of happiness, singing altogether, “reading” their cigarettes, and by highlighting their dreams and their will to change their lives. However, their situation is so dire, even more so since most of them seem to have families that are separated from, that a sense of misery inevitably surrounds the whole narrative. Furthermore, there is something missing and that is the back story of the women running the asylum, with the lack of this elements actually dulling the impact of the whole narrative, since it would also shed more light on how the “protagonists” ended up there.

As in the case of “Khatemeh”, “Feminity” offers another view to a kind of life that any script-writer would find troublesome to imagine. Mosen Ostad Ali has managed to capture this concept and the reality of a number of women in the most eloquent, realistic, and artful fashion, coming up with a documentary that is shocking due to the truths it communicates.

Series Review: Feluda Pherot Season 1 (Chhinnamastar Abhishap) (2020) by Srijit Mukherji

Tue, 19 Jan 2021 07:30:00 GMT

In Bengal, there are few personas whom you rarely dare to interlace with and one of them is Satyajit Ray’s iconic detective character Feluda. When Srijit Mujherji decided to create his adaptation of Feluda in a web series, the expectation became sky high so were the pens of critics who were ready to tear him apart for any mistakes. But Srijit had a winner under his sleeve with a slick adaptation of Ray’s master creation without deviating much from the original thoughts and narrative.

Chhinnamastar Abhishap revolves around a mystery related to the family of Mahesh Chowdhury (Dhritiman Chatterjee) and is placed in the beautifully scenic Hazaribag. It is better not to reveal the storyline as it dissolves the charm of a detective narrative.

Srijit Mukherji has decided to bring out the character of Feluda exactly as illustrated by Ray and it has been perfectly portrayed by Tota Roy Chowdhury. The difficult part was to handle the emotion on the face of the iconic detective, and it has been captured intelligently by the director with minimum expression. It seems lot of emphasis has been given on the voice modulation of Tota and it blends perfectly with the narrative. The director decided to make the character of Topse a bit subdued than previously portrayed characters, but it never hampers the flow of the narrative. Anirban Chakrabarti has the most difficult part to portray as Jatayu but he does so convincingly.

There are some scenic locations and those have been used aesthetically in the narrative. Srijit Mukherji paced the narrative brilliantly and it flows with the music like old Hollywood classics. Knowing the fact that the story of Chhinnamastar Abhishap must have been read by many already, he focuses on the presentation of the narrative more, rather than creating unnecessary suspense and that holds the key to the success. And it charms the viewers to watch it multiple times with a fragrance of nostalgia and a scent of an adventurous thriller.

“Chhinnamastar Abhishap” is streaming on Adda Times.

Short Film Review: Suit Up! (2018) by Jiamin Wu

Tue, 19 Jan 2021 04:26:00 GMT

“A sleeping superhero is abruptly awoken by an emergency phone call in need of his expertise—a monster is invading the city. In the morning rush that ensues, our hero equips himself with the gear needed to save the day. As he and the monster begin to face-off, it’s only then that he realizes he is woefully ill-equipped with the wrong suit. He is bewildered. Our hero is wearing his wife’s magic girl costume and he has no idea how to use it…”

“Suit Up!” review is part of the Submit Your Film Initiative

Putting forth the message that you can be a hero regardless of how you dress/act marks, gives Jiamin Wu animation “Suit Up!” a strong backbone to set its foundation. Consequently, the hero’s ability to overcome embarrassment in wearing his wife’s costume and fighting with ‘feminine’ powers (bubble’s, rainbow) is both comedic and uplifting. The moral importance and great execution of concept can not be stressed enough towards making this short a success, particularly when the rest of the film falls short.

The animation style within “Suit Up!” comes across as rough, with moments of awkward movement and static backgrounds that lack detail. However with all aspects of the production being handled by Jiamin Wu, the short takes on the charm of independent created cinema with its DIY approach. Ultimately, “Suit up!” won’t meet the same standards of companies like Pixar or DreamWorks, but the same desire to create engaging and positive animation is well and a alive in the production.

Within animation and dialogue-free entertainment, the score and sound design becomes integral to creating a successful project. Sadly, the sound comes across as the most neglected aspect of the production, with effects and music just doing enough to convey the narrative. Given the comical nature and working in the realm of super-heroes, exaggerated sound effects and variation in music would have gone a long way in giving the film a more definitive personality.

At just over two minutes, the dialogue free animation project will fail to impress a wider audience due to rough style and presentation. However, Jiamin Wu does gift the audiences with a well crafted narrative that pushes the importance of being comfortable within your own skin and embracing what makes you happy outside of cultural norms. To this degree, the film will work wonderfully for kids who wont get caught up in the technical shortcomings and are able to take away the important messaging.

Short Film Review: Then I Add Colors to a Panda and a Zebra (2020) by Karin Takeda

Tue, 19 Jan 2021 04:07:09 GMT

With its rather unusual title, the short by Karin Takeda is a little gem picking up on the agony of a perfectionist. The newcomer director took one year to finish this as a graduation project at the Tokyo Polytechnic University.

Then I Add Colors to a Panda and a Zebra screened at Skip City International D-Cinema Festival

Shirahoshi (Yuki) is a girl who can’t tolerate when things are not absolutely right. She won the runner-up prize in a manga contest but decided to abandon her dream of becoming a manga artist since she wasn’t going to be the best. Now she spends her days searching for a job. She also cannot accept the reality she was abruptly dumped by her boyfriend who she had hoped would be the perfect match. Then Shirahoshi suddenly comes face-to-face with a suspicious man (Kansaku Shinohara) and self-proclaimed ghost who warns her that not everything has to be “black or white.”

Color, editing, script, and acting, “Then I Add Colors to a Panda and a Zebra” experiments with different styles of filmmaking and creates a fantastic world with a unique approach of telling the main protagonist’s story. Shirahoshi’s fatalism is shown by the use of black/white colors, which starts to brighten up as her mindset changes. Yuki’s magnificent performance fits the concept of the short. Her inner monologue guides the viewer through a fast edited movie with a lot of details and an overall comic approach.

The clever executed and visualised wordplays of Yuki are well done. As the plot develops, the tone gets more serious and the easy-going mood of the first sequences is neglected to explain the dilemma of the character. After all, this is a story about a young woman who tries to break out of her self-made compulsions. The message of “Then I Add Colors to a Panda and a Zebra” is very contemporary and appeals to a large universal audience, because many people tend to put themselves under enormous pressure, which often leads to unhappiness. At times, human beings make presumptions, idealise or demonize certain things prematurely and miss out on life. This kind of thinking turns the world into a grey place and Takeda shows it to us. But she also presents a resolution for it by painting it bit by bit.

The combination of a strong lead, with tangible problems and an idea of style, which is followed consistently and underlines the character’s feelings, delivers a total package of cinematic skill. For Takeda’s future projects, I wish for a full-on comedy that includes more visual metaphors and less serious drama.

Film Review: Body Weapon (1999) by Aman Chang

Tue, 19 Jan 2021 03:14:06 GMT

One of the fascinating things about Hong Kong cinema during its prime was its ability to go beyond what at times would be acceptable and really push the boundaries of good taste. The result could be some incredibly visceral images that could leave the viewer speechless. Whilst the end products themselves may not have always been particularly good, you would at least be left having a strong opinion about what you had experienced. Sometimes this ability did not always create something edifying and the worst excesses and prejudices would be revealed. This leads us to “Body Weapon” a movie that certainly will create a reaction.

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Madame Chan (Angie Cheung) has a dilemma, being in love with both Wu (Vincent Zhao) and Sam (Stephen Au), fellow officers in the Hong Kong Police. After a scandal, she is ordered to choose between them, ultimately marrying Sam. On her wedding night, three men break in, kill Sam and rape Chan. Traumatised by the events, Chan seeks revenge, learning from drag artist Pearl (Clarence Fok) how to use her body to both seduce and slay her targets. With Wu a reluctant assistant, the true reason for her attack proves to be closer than they first thought.

From reading the above synopsis it’s clear that we are not in for the usual stereotypical cop flick. From the outset ,we are in full exploitation territory with graphic violence and nudity. Then it gets a bit insane….

Firstly, I don’t think a modern employment tribunal would look fondly on the idea that a police inspector informing a female police officer to pick one of two men, marry them or get fired. Realism is not a strongpoint of “Body Weapon” and we haven’t even gone down the rabbit hole of madness at this juncture. Yet, it’s a sign that logic and taste are not going to be present any time soon. Given her attire is provocative with the camera fetishizing her body in every frame, the male gaze is clearly the target audience.

After the murder/rape sequence, we truly descend into delirium. Chan learns the art of seductive violence from drag queen Pearl. Clarance Fok plays the part in such a way that Nicholas Cage would sit in awe, such is the scenery chewed. It’s a performance that goes beyond any camp stereotype and is intentionally played for laughs which causes the till then serious tone of the picture to collapse from within, as we get some seriously offensive humour .With the camera angles and manic laughing of Pearl it becomes genuinely disturbing scene.

If that is not homophobic enough, then we get the reveal of the killers in gimp costume and their motivation. If you have somehow still been paying attention then the way, this actor performs his role practically telegraphs it. The only way it could be more obvious is if he walked around with a neon sign above him flashing killer on it. The motivation makes no sense. Firstly the idea of revenge and jealousy, why did they need to kill all the others at the start of the film? Also by making the killer gay (not a spoiler as it is blatantly obvious from the outset), it just adds another layer of homophobic nastiness that is prevalent in a feature that seems to delight in its perversity.

But we haven’t covered the revenge act yet. We’ve had the homophobia so why not throw in some misogyny too. By seducing the men and killing them in the most painful way possible, we enter full exploitation territory. Yet it saves the most mind boggling bit for the conclusion. After beating Yu, our villain is stopped by the heroine proceeding to strip down and attempt to seduce him and saying no man can resist her. Yes, this movie attempts to imply that gay men are actually straight! Not only is this scene narratively absurd but all taste has left and immigrated. I was genuinely baffled as to what was happening.

To put “Body Weapon” into context, there has often been very broad characterization when it comes to homosexuality. For every “Happy Together” that treats the subject matter with sensitivity, there is a “Pantyhose Hero” that conforms to the frequent jibes at masculinity and casual cruelty that betrays the specific cultural view. As for the misogyny, this too is a similar aspect. Chan is the typical contradiction, being both a strong female character but also overly sexualized. In the mid 1990’s there was a boom in Catagory III productions. These featured increased amounts of sex and violence with very little filter, one of the most famous being “Naked Killer” which is what “Body Weapon” clearly aspires to mirror.

Here though is its fundamental flaw. It’s boring. For all the attempt to titilate and shock it’s only a II rating and so doesn’t go as far as it thinks it does. The characters are self absorbed and unsympathetic with a killer so obvious any suspense is just lost from the outset. It tries to shock but it’s a Caragory III wannabe that lacks the teeth to go all out. What you have left is an equal opportunistic feature with something to offend everyone but without the conviction to be shocking. I am personally not a fan of “Naked Killer” but at least it got a reaction out of me, this just had me drifting.

Vincent Zhao has had an odd career.Hampered at the start by trying to follow Jet Li in the “Once Upon a Time in China” series and only coming into his own in “The Blade”. He can have a presence but often comes across as bland and insular which is what we see here. Angie Cheung literally puts everything out there in a gutsy performance but is hampered by direction that focuses on her physical attributes. The fight sequences are dull too which is in keeping with the substandard nature of the whole feature.

Usually I try to find positives. Even bad films have positive aspects if you keep an open mind. Now I suspect I am not the target audience for “Body Weapon” even though I do enjoy a good catagory III. This though is not a good Catagory III, it’s not even a Catagory II. It’s a cheap, poorly produced piece of film making that forgets to even be interesting whilst trying to offend. Essentially it’s a naughty child sniggering at saying something rude rather than the all out shocker it wants to be. Avoid and be happy that you did so!

Film Review: Raat Akeli Hai (2020) by Honey Trehan

Mon, 18 Jan 2021 16:30:00 GMT

Combining a traditional whodunit basis with a genre mash up that includes thriller, drama, noir, and comedy is not an easy task, but is exactly what Honey Trehan attempted with “Raat Akeli Hai”. Let us see if he succeeded.

After a flashback of a murder that took place five years before the main story, the film turns to the present, where Inspector Jatil Yadan, a small-town officer who still lives with his mother and is pressured by everyone around him to get married, is tasked with investigating a high-profile member of a rich aristocrat named Raghuveer Singh. Jatil arrives in the manor, only to find that the man was murdered with his own weapon during his wedding night, and that none of the inhabitants of the house seems to know or have heard anything.

Jatil Yadav is first introduced to the family by Ramesh Chauhan, brother of Raghuveer Singh’s first wife (who was murdered 5 years ago). Members of Raghuveer’s family include his 2 children – Karuna Singh (daughter of Raghuveer Singh) and Karan (son of Raghuveer Singh), Chunni (the maid of the house), Pramila Singh (wife of Raghuveer Singh’s brother and Raghuveer Singh’s sister-in-law), Vasudha and Vikram Singh (daughter and son of Pramila), Ravi Sisodia – the volatile husband of Karuna, and Radha – the young bride of Raghuveer Singh. Radha is treated like an outsider by the family, who resent her considering that she was in with Rghuveer Singh for his money, with her only supporter in the house being Chunni. Chunni’s mother, whom everyone considers half-crazy also dwells around the house helping with the housekeeping. Jatil develops a soft spot for the beautiful Radha, but soon finds out that he has to face pressure from his higher ups regarding his attitude in solving the case, while a number of the family’s secrets eventually come to the fore.

Honey Trehan’s direction excels in a number of ways. The way he presents all the characters, gradually revealing their back stories and allowing for almost all actors enough space to shine is excellent, and results in a number of sequences where their chemistry is truly impressive. Furthermore, the way he combines the different elements that comprise the narrative is also ideal, with the mystery and the drama being toned by moments of comedy, mostly deriving from the ways Jatil’s mother pins him down, with him occasionally seeming completely defenseless against her comments, which also include some about his color of skin. This element contradicts the way he leads the rest of his life, being fearless in the face of his higher ups and even eager to become forceful against the spoiled members of the family, creating a rather entertaining antithesis that is the main source of hilarity in the movie.

Nawazuddin Siddiqui gives a great performance as Jatil, highlighting all the different levels of a rather complicated character, with an artfulness that anchors the film in the most impressive fashion. The scenes where he becomes violent, the ones where he flirts with Radha in a distinct, alpha-male style, and his interactions with his higher ups are the highlights of an overall great performance.

Perhaps the only aspect of the movie that is somewhat off is the romantic one, which seems a bit far-fetched at times, and a bit underdeveloped, although not to a point to significantly fault the narrative. On the other hand, the action that takes over the last part of the movie is quite well-shot, with the element of surprise being presented excellently by the overall impressive cinematography by Pankaj Kumar. His framing, in combination with the lighting and the overall story are also the main sources of the noir element in the film, which also works quite well in the context.

Furthermore, “Raat Akeli Hai” also exhibits a sense of theatricality, mostly in the scenes where Jatil confronts the members of the family in the house, which also highlights the work done in the production design by Rita Ghosh, Vinay Narkar and Niyoti Upadhye, with the lavish sets becoming a crucial element of the narrative. This aspect also reminds of a number of movies based on Agatha Christie’s novels, although Jatil is a much harsher man than Poirot. Lastly, A. Sreekar Prasad’s editing connects the plethora of scenes rather well, allowing for the many plot twists to appear in well-timed moments, while implementing a relatively fast pace that works quite well for the narrative, despite the fact that a bit of trimming would definitely benefit the movie.

“Raat Akeli Hai” has its faults, and at 149 minutes somewhat overextends its welcome, particularly in the romantic aspects, but Siddiqui’s charisma, the overall visuals and Trehan’s direction allow the movie to rise beyond its few shortcomings, and result in a rather entertaining spectacle.

Film Review: Perfumed Nightmare (1977) by Kidlat Tahimik

Mon, 18 Jan 2021 13:30:00 GMT

Kidlat Tahimik counts as one of the most important and influential filmmakers from the Philippines. Similar to his aforementioned colleagues his works deal with the difficult and problematic legacy of colonialism as well as the process of adapting to modernity, in particular, the rise of capitalism and commercialism. His first, and arguably his most famous feature “Perfumed Nightmare” already set the groundwork for these themes, earning him not only critical praise but also international acclaim, such as awards at the Berlin Film Festival. However, in the light of recent developments such as gentrification, “Perfumed Nightmare” has become more relevant than ever, as its satirical approach highlights the pitfalls behind a rapidly growing economy and a form of globalization growing detached from the cultural roots of a nation.

“Perfumed Nightmare” is streaming on MUBI

Throughout the feature, Tahimik follows a semi-documentary approach telling the story of his life and eventual disillusionment, starting with his childhood and his dream of becoming an astronaut. Considering his father was a famous engineer in his hometown, building the first bamboo bridge, which was later demolished by the colonial authorities, he tells his viewer about his heartfelt admiration for people with a vision, more specifically German engineer Wernher von Braun whose research set the foundation for NASA’s space program. During his days as a Jeepney driver in his hometown, Tahimik dreams of participating in the space program, becoming the first Filipino astronaut, until one day he gets one step closer to achieving it upon meeting a US businessman.

Impressed by Tahimik’s dreams, his personality and his humor, the American convince the Jeepney-driver to accompany him on his trips, first to France and eventually to the USA, where he will become an integral part in the businessman’s empire. Seeing this as a once-in-a-lifetime opportunity, Tahimik agrees and travels to Paris, where he, along with his duties as a Jeepney-driver, is also responsible for maintaining the various gumball-machines owned by the American. However, as time goes by and he encounters a variety of Parisian shopowners and the stories about how bigger companies are destroying their livelihood, Tahimik starts to think whether his dream might actually become his worst nightmare.

According to his own account, Tahimik never actively pursued a career in filmmaking, which is actually an opportunity that came purely by chance. While “Perfumed Nightmare” indeed has a distinct air of amateurism about it, especially due to home video-aesthetics, there is also no doubt this early work proves he understood issues such as framing, visual metaphors and most importantly irony, both literary and visually. Right from the very first moments of the feature you notice the way Tahimik’s camera tells a story of a man’s development through minor details, such as a boy, a youth and finally a grown man (Tahimik himself) pulling a toy car and later on an automobile across a concrete bridge. Immediately, his character is presented as a dreamer, a man of visions and ambitions for his life, a man willing to cross bridges, as he says himself, real ones and those standing for progress.

Eventually, as we follow the story about Tahimik’s job, his costumers and the odd characters living in his village, the director adds more layers, especially with regard to the relationship of the community, technology and progress. This concept is mirrored when the main character later talks to shop owners, vendors and other people in Europe, showing that, even though there might be cultural differences, the development remains the same, which is the superiority of franchise culture or rather the “McDonaldization” of culture. While the remains of previous cultures, those of the colonizers, were eventually assimilated, such as the Jeepneys which are made of spare parts from old army vehicles, this new form of colonization is global, for more aggressive and affects everyone, from the capitals of Europe to small hamlets in the Philippines.

Despite the seriousness of its themes, aspects such as the design of the central character, his outlook on life and the structure of the story, “Perfumed Nightmare” is a thoughtful, but not pessimistic feature. Supported by the narration of the main character, Tahimik follows the principle of the development novel (or rather feature), or “Entwicklungsroman”, with his protagonist going through various changes, stages of disappointment, but also constructive contemplation over what he has observed.

In the end, “Perfumed Nightmare”, in spite of its often grim and dark undertones, becomes an uplifting tale about the human power of resistance and the strength in humor. Kidlat Tahimik has managed to direct one of the most relevant features on topics like globalization and capitalism, their world-wide consequences and hoe they have changed the lives of many.

Short Film Review: Fashion (2019) by Loong Wah

Mon, 18 Jan 2021 10:25:00 GMT

“Fashion” explores the life of the host at the ‘Midnight Express Discotheque’, a venue that highlights drag performances and caters to an LGBTQ+ community. However, the club is not all about glitz and glamour as the host struggles with a feeling of loneliness and his star performer can withdraw into herself and her own vices.

“Fashion” review is part of the Submit Your Film Initiative

Taking a lo-fi approach to filmmaking, director Loong Wah’s “Fashion” is as close to a zero budget project you are bound to come across. Consequently, the equipment used feels aged with visuals saturated in color that blurs form, dialogue drowned out in background noise, and a score that sounds like two default setting on a keyboard overlapping. As a result, “Fashion” is far from being a ‘good’ film in the traditional sense, but carries an undeniable charm in its stripped back and intimate approach.

Much like the director’s previous work, “Mah Lin Hotel” the cinematography focuses in equal parts between performances and moments of non-action. This results in long shots of subjects standing still, often smoking, as they stare absent mindedly at the camera. Consequently, creating an odd disconnect from the experience as a ‘film’ and more a portrait of the daily lives of his subjects. The time with each actor feels almost perverse in extreme close-ups of carrying out such mundane activities, almost judgmental towards the viewer. At the same time, Wah also seems to celebrate the subjects in his film by letting them exist as is.

With minimal dialogue, there is not really anything to comment on in regards to the actors. However, Loong Wah does inject some personality into the production with his own musical score, which, while awkward, makes the perfect soundtrack for the dingy looking ‘Midnight Express Discotheque’. Ultimately, the film appears to be looking to establish a vibe more than a narrative, and to that degree, succeeds under the multiple roles of production Wah takes on himself.

“Fashion” is best described as directionless z-grade cinema with some punk and counter-culture undertones. Undeniably, it will not be an experience most will seek out or be able to enjoy. Personally, after having watched two projects from Loong Wah I have come to love the imagery, in spite of the awkward framing and low quality, as well as the awkward yet realistic characters he creates. If you are a fan of micro-budget film that does not follow convention, “Fashion” is certainly worth seeking out.

Book Review: Sputnik Sweetheart (1999) by Haruki Murakami

Mon, 18 Jan 2021 08:24:00 GMT

Haruki Murakami spent the years between 1986 and 1989 in Italy and Greece, where he wrote “Norwegian Wood” and “Dance, Dance, Dance”. Ten years later, he revisited Greece through “Sputnik Sweetheart”, a novel that stands out from the plethora of his works, although not only for good reasons.

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The story revolves around three characters. Sumire is a 22-year-old aspiring author who seems to roam her life without any sense of purpose. She only has one friend, K, whom she tends to call in the most inappropriate hours, at least when she is not crashing in his house. K is in love with her, but she does not share his feelings, something that has made him indulge in a number of affairs, with the most recent being with the mother of one of the students of the school he teaches. Eventually, Sumire meets Miu, a woman 17 years older than her, and falls in love, despite the fact that she is so much different from her, filled with glamour and running a business of wine imports. However, Miu also seems to like her, eventually hiring her, teaching her how to dress and in general to conduct herself, and even taking to her on a trip that ends up in a Greek island. At one point though, Miu calls K and asks him to come to Greece immediately.

Haruki Murakami writes a book in his regular style, which allows the narrative to flow in the most exquisite fashion, also assuring a readability of the highest level. The bon viveur elements are also here once more, although jazz and classical music are this time, substituted by a rather thorough analysis of wines. Furthermore, the description of Greece at the time is rather accurate, with Murakami having caught most of the elements that characterize the Greeks, particularly during the summer.

The comments this time focus on unrequited love, with the triangle that is shaped by the three protagonists allowing Murakami to avoid the clichés of the concept. At the same time, he also touches upon the concept of platonic love, while the last part deals with human nature, particularly that of children, and also with parenting, as a concept though, that helps more the parent than the child, as exhibited in the interactions between Carrot and K.

At the same time though, the command of the medium is not of the same level as the best of Murakami’s works. For starters, the change of perspective, which includes the three characters speaking in the first person on occasion, but also a third-person perspective, is not handled that well, and particularly in the beginning, it becomes a bit disorienting. Secondly, the trademark surrealism gets a bit overboard this time, spilling into the realism of the narrative in hyperbolic ways, essentially dulling the impact of some of the comments in the book. The fact that the end gives, at least a kind of closure, and consequently, satisfaction to the reader who does not want his/her ending open also does not work well, since Murakami has actually perfected the exact opposite. Lastly, the last part and the interactions with Carrot seem almost completely out of context, having little to do with the rest of the book, to the point that it looks like a short story was added to the main one in order to make the book longer.

These faults do not mean that the level of literature here is not high, and the book is actually quite joyful to read. However, they do place it some levels lower than his best works, and the fact remains that “Sputnik Sweetheart” would be better without the aforementioned, last arc.

Murakami fans will enjoy “Sputnik Sweetheart”, which remains though, not one of his best works.

Book Review: The Elephant Vanishes (1993) by Haruki Murakami

Mon, 18 Jan 2021 07:31:00 GMT

Do you enjoy the art of the unexpectedness in writing? Well, I do and by reading Murakami’s books for a while, I can say with a pinch of bitterness that I have almost mastered the ability of predicting the “goin’ ons” of the next page quite often. This needed unexpectedness is served nicely in a story collection like “The Elephant Vanishes”, which contains 17 short tales of either realism or surrealism published in Playboy, The New Yorker, and other magazines between 1980- 1991. Paradoxically, the collection’s first edition was released in English in 1993, followed by the Japanese release in 2005.

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To work out the riddle of the Elephant, we must pinpoint a few things that differentiate this collection from his more ambitious projects. First and foremost, the flow of the words is different. The absence of the famous Murakami rhythm is present. It seems that the writer didn’t bother much to align his lines as he always does. A reasonable choice, as we’re talking about a casual stream of thoughts that doesn’t require neither the time, neither the energy to be excellent. Therefore, the problem that occurs is that the narration in some stories is more of a rant than enjoyable. On the other hand, the reason of the popularity of the book is obvious. Murakami finds himself in an inside track where he can present a variety of ideas and concepts without the pressure of a much-needed potential plot that could fit in a full-sized story.

Thematically, it is still a Murakami book, but given the fact that the content from times to times is cruel and bold the reading is both satisfactory and repulsive.

The first story in the series is – of course – “The Wind-up Bird and Tuesday’s Women” a little extract from “The Wind-up Bird Chronicle” presenting a concerned couple looking for the wife’s cat. As I said before, the meanings here are “heavier”, since the story finishes early before an ultimate solution is given to the couple. We stay to watch their relationship deteriorate.

To cleverly lighten the atmosphere the second segment of the book is the humorous “The Second Bakery Attack”. In order for a curse to come full circle, a charming couple of newlyweds decide to rob a McDonald’s restaurant late at night in Tokyo disguised in ski equipment. There’s a symbolic association between the new couple and a boat sailing in the sea. I’ll let you figure it out.

Later in the book, i couldn’t help but notice “Barn Burning” a story about obsessive thoughts and other maladies of the mind. A man becomes obsessed with the idea of barn burning when he meets the boyfriend of his previous girlfriend who declares to be an arsonist that burns barns cautiously selected every time.The 2018 critically acclaimed Korean movie “Burning” (a film that thoroughly communicates to the viewer the majority of the concepts Murakami uses in his work) is based on this story.

Another story is the one named “Family affair”, about a brother and a sister co-living in an apartment, where the sister is branded with the role of a mother-sister-wife while the brother is a passionate bachelor with no intention of leaving home or having a steady girlfriend. A narration of an unhealthy relationship, culminating with the arrival of the sister’s fiancé. If you read behind the lines, apart from the social comment about seriously attached families, lies a deeply dramatic and gloomy story, equivalent to McQueen’s movie “Shame” or Ian McEwan’s novel “The Cement Garden”.

Then there’s the purely symbolic “The Little Green Monster”, a heartbreaking story of how a man’s unrequited love can turn him into the shadow of his own shelf. Murakami experiments with the ero-guro genre in “The Dancing Dwarf” and things get exciting – the hero gets to kiss a maggot-filled girl- in this nightmarish, grotesque tale that imitates traditional bizarre legends about pacts among humans and evil dwarfs.

“The Elephant Vanishes” is this kind of book that takes time and discussion to be analyzed. Ι thought that if a company of people read it concurrently, they’ll have a lot to talk about and explore as the presented painful issues are difficult to digest. There’s a story, though, the most belletristic of them all, named simply ‘’Sleep’’. Unusually, the protagonist and narrator is a woman, a housewife, married to a doctor recently enriched. The woman is unable to sleep and as she deters sleep, the sentimental gap between her and her family becomes wider and wider. In the early hours, without anyone noticing, she studies the classic literature she once loved before her marriage. While she still takes care of her family in daytime, her heart and mind are devoted to her books, the same way a woman is devoted to her secret lover. A kind of Madam Bovary someone would say, except than being engaged to affairs, the woman is engaged in reading. Murakami himself is known to love the classic, that’s why his heroine obsessively reads “Anna Karenina”. Through the thoughts of the woman about the book, Murakami finds the chance to artfully makes us aware of what he thinks about it.

You never know what happens in someone’s mind. We wake up. We work. We are having dinner. We hug and kiss each other before we fall asleep and still, we think and we obsess and the person standing next to us doesn’t have a clue. And we better leave it this way, because once a guy took the courage to talk to his date about the absurd vanishing of an elephant, he never saw her again.

Short Film Review: Stay (2020) by Naoya Fujita

Mon, 18 Jan 2021 04:39:00 GMT

The concept of the home invasion has been explored in a number of radically different films in Japanese cinema, from Takashi Miike’s “Visitor Q” to Koji Fukada’s “Harmonium”. Naoya Fujita adds another, radically different approach, by making the invader a public servant, in an effort that netted him the Best Picture Award from Skip City International D-Cinema Festival.

Stay screened at Skip City International D-Cinema Festival

A group of five people has occupied a traditional Japanese house, living there in a kind of commune where the only rule is that they accept everybody and that they all do their share in chores and contribute financially. However, the local town office wants them out of there, even though they have no particular reason to evict them, and has dispatched a number of public servants to ask them to leave, to no avail. The latest “agent” is Yajima, a young man who is introduced to the group by asking to use the bathroom, and not to pee for that matter.

As Yajima’s clumsy nature undermines his mission, he also finds himself being dragged to the ways of the inhabitants, and particularly Suzuyama, a kind of a leader of the group. As time passes and Yajima is treated more as a guest than anything else, the dynamics of the group come to the fore, along with the fact that not everyone is happy with Suzuyama’s overall demeanor. At the same time, and after being forced to stay the night there, the young public servant has a number of conversations with the female members of the group and comes somewhat closer to Maki, a young girl living there.

Naoya Fujita’s approach to the whole concept is filled with hilarity from the beginning, with Yajima’s hopelessness becoming evident even before he steps a foot inside the house. At the same time, the narrative also benefits from the fact that the presentation of the commune is not exactly idyllic, with Fujita highlighting the fact subtly, through details here and there, as with the whole concept of the ladder to the first floor.

A third element that stands out is the way Fujita and his DP have used the house to highlight all the different dynamics that take place among the members, with the kitchen, the dinner table and the stairs (once more) becoming a crucial part of the narrative.

This combination works very well for the film, carrying it for the whole of its 38 minutes, while the surprising ending concludes the short in the most entertaining fashion.

The acting is also on a very high level, with Takaki Uda as Suzuyama, Keita Yamashina as Yajima and Ruka Ishikawa as Maki highlighting both their differences and their chemistry in excellent fashion.

“Stay” follows most of the rules of the Japanese indie, but at the same time manages to stand out due to its script, its sense of humor and the quality of the overall production.

The 10 Best Anime Series of 2020

Sun, 17 Jan 2021 23:30:00 GMT

The truth remains that whatever one talks about regarding the anime industry this year, the success of “Demon Slayer: Kimetsu no Yaiba the Movie” overshadows everything in the category. However, the year was once more quite good for the industry, at least content-wise, with a number of titles that are bound to make an impact in the future coming to the fore. A number of new trends also appeared, with two titles that focus on the humanization of animals, a number of ones that presented a distinctly European setting, and a number of series that were original, not based on manga that is. Lastly, Masaaki Yuasa proved, once more, that he is on the very top of anime directors.

Without further ado, here are the 10 Best Anime Series of 2020, in a list that includes titles whose season or the whole series ended in 2020, with the exception of “Beastars” which ended at December 26 2019, but I decided to include it in the end. A number of other great titles also ended around that date (Vinland Saga for example) but I felt more than one would somewhat “ruin” the list.

10. My Hero Academia Season 4 (Kenji Nagasaki)

Kenji Nagasaki introduces new characters (villains, heroes and others) almost constantly, to the point that some have to die if he is to keep the story compact and coherent, something that does actually happen in this season. The role of the press and public opinion, which are the main elements that make “Academia” stand out from the plethora of shonen titles, are here once more, particularly regarding the aftermath of All Might’s burnout and the search for a new symbol of peace. The appearance of a cunning journalist that wants to learn more about All Might’s successor also adds to this part. The group of youths and the way they mature and grow up through hardship and effort also continues in this season, as much as the revealing of secrets regarding the past and the introduction of new questions that remain unanswered.

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9. Brand New Animal (Yoh Yoshinari)

The writing by Kazuki Nakashima and the direction by Yoh Yoshinari set the tempo from the beginning, as the frantic action begins from the first frame, just before we are introduced to a setting that can be easily described as a ghetto/refugee camp. In that fashion, the story includes people who attack those who want to go out or even get in Anima city, along with the whole concept of legal country borders. Racism, in the form of misjudging the kind of animal each character is (confusing a mink with a weasel for example is presented in a way that reminds of confusing an Indian with a Pakistani). Organized crime that extends to people trafficking and of course, illegal gambling. A mayor who tries to do everything she can, consequently coming against obstacles presented by the government. Big pharmaceuticals playing a significant role in what is happening in the city. Pop culture, folklore, and a cult that work as population control methods and are quite difficult to fight against, both physically and to their rhetoric. For anyone who has dealt with the refugee issue, these are quite common elements usually associated with the refugee camps around the world.

8. Deca-Dence (Yuzuru Tachikawa)

The series begins with a number of known “loans”, with the elements from “Attack on Titan” and “Mortal Engines” being more than obvious and the first episode looking like a copycat. However, from the second episode on, and while one could say that the loans continue, this time from “Sword Art Online”, the series takes a whole other direction. To begin with, and while it is introduced that what we saw in the first part was nothing more than a MMORPG style game, the characters are now turned into avatar/retro-like ones, and in a style much reminiscent with “Spongebob Squarepants“.

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7. Somali and the Forest Spirit (Kenji Yasuda)

His complete lack of care for himself creates a wonderful relationship between the two, with both of them enjoying their benefits, although in rather different fashion: Golem in giving, Somali in receiving. Furthermore, Golem also has to learn, at some point, that being overprotective and quite strict can have opposite results than what he intended, while Somali has to learn how to be more sensible and responsible, in an obvious coming-of-age element that actually extends to both. That Somali’s life is in constant danger for being a human also adds another level to the aforementioned and a constant sense of danger to the narrative that works quite well through the antithesis with the overall basis of calmness. Furthermore, this aspect can be interpreted as a metaphor for racism and the whole issue with immigrants, with particularly the former being explored through a number of episodes that highlight the fact that racism usually comes in both ways.

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6. Dorohedoro (Yuichiro Hayashi)

“Dorohedoro” presents a world unlike any other, offering a rich amalgamation of diverse inspirations. Consequently, this landscape transforms into something wholly original, even within the noticeable homages to various genres and styles. That is not to say that some common anime tropes do not exist within the series, but the way the world and people interact with these characters gives them a certain unique nuance within the medium. Ultimately, the unique tone of the show can best be summarized in three separate elements: the use of magic, environments, and character design. (Adam Symchuk)

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Seven Seas Licenses Sarazanmai Anthology Manga Collection

Sun, 17 Jan 2021 19:22:00 GMT

Seven Seas Entertainment is excited to announce the license acquisition of the Sarazanmai Anthology manga by various creators, a collection of over a dozen short stories based on the hit anime by Kunihiko Ikuhara (Sailor Moon, Revolutionary Girl Utena, PENGUINDRUM)!

After accidentally breaking a statue of a mythical kappa, junior high students Kazuki, Toi, and Enta are transformed into kappa themselves as punishment by Keppi, prince of the Kappa Kingdom. Keppi has a task for the boys if they want their bodies back: work for him to hunt down zombie kappa born of twisted human desires. Even scarier, though? They’re going to have to expose their own deepest fears and desires to each other to do so! Explore this surrealist modern folktale–a fan-favorite anime in 2019–like never before in this collection of all-new short manga by various creators!

Seven Seas will publish the manga collection Sarazanmai Anthology for the first time in North America in print and on digital platforms in a single large-trim edition. It will be released in June 2021 for $13.99 USA / $17.99 CAN.

About Seven Seas Entertainment
Established in 2004, Seven Seas Entertainment specializes in bringing the best of Japanese manga and light novels to North American audiences, and producing original comics, graphic novels, and youth literature. As of July 2021, Seven Seas and all of its book imprints are distributed by Penguin Random House Publisher Services. For more information, visit sevenseasentertainment.com

Film Review: Motel Mist (2016) by Prabda Yoon

Sun, 17 Jan 2021 16:29:00 GMT

Scriptwriter of “Last Life in the Universe”, Prabda Yoon’s feature debut is a film equally unorthodox, through a genre mash-up that seems to focus more on style than context.

Motel Mist is available from Raintrail Pictures

A love motel on the outskirts of Bangkok called Motel Mistress becomes the central location for five people whose lives eventually intertwine in the most unexpected fashion, along with Nid, the mother of a now disappeared celebrity, who describes her son’s, Tul, obsession with aliens on TV. Sopol, a middle-aged father-like figure picks up a young girl, Laila, from school, only to indulge in his intense S&M fetishes in room number 7, his custom-made erotic chamber. The aforementioned Tul eventually also arrives in the same hotel, insisting for room 5, even paying a large amount of money to get, only to paint it black in order to communicate with aliens. Tot, the motel attendant, watches the aforementioned TV program and dreams of another job, mostly communicated through his phone. Eventually, he goes to check on Tul. In the meantime, Sopol’s games become more violent, and Laila soon calls a friend of hers to join them, Vicky, whose rather sultry appearance overcomes Sopol’s angry restrictions. However, the girls have other plans.

Prabda Yoon directs a movie whose narrative unfolds in completely different directions, depending on the setting (and the room) the focus is on. In that fashion, Sopol’s room, which takes the biggest part of the movie, starts with exploitative/erotic elements before the concept of revenge takes over. However, and although the sleaze is evident as Sopol ball-gags, ties, and spreads Laila while forcing her to watch retro porn on TV, neither the violence nor the sex are particularly graphic, an approach that continues even after Vicky appears. Furthermore, the intense dialogue during all the exploitation images that appear on screen is reminiscent of Tarantino’s style, as the discussion moves towards the “glory of the past and the decay of the present”, relationships, being a prominent citizen and other discussions that, normally, would not take place in such a setting.

This approach, allows Yoon to focus on the best asset of the movie, which is the combination of Chananun Chotrungroj’s cinematography, Rasiguet Sookkarn’s production design and Manop Chaengsawang’s art direction, whose result, in this part, a voyeuristic cornucopia of intense colors where red dominates, is more than impressive. Inside this setting, the various sexual toys take on a hypostasis that points towards clip-art while the ironic humor (as exhibited in the constant operatic music during the sexual scenes), the exploitation and the sleaziness co-inhabit the setting.

Particularly Chaengsawang’s work seems to defy space completely, a concept that also becomes obvious in the next setting, where a silent Tul changes his room in ways that defy logic, as a sci-fi surrealism dominates his arc. The brightness of the lights and the motleyness of the colors also extends to Tot’s segment, which unfolds as the most normal one, but eventually becomes part of the absurdness of Tul’s setting, as the two eventually interact in the most uncanny way possible.

Both the visual package and the overall aesthetics of the movie are impressive, essentially carrying the movie from beginning to end, particularly since the acting and particularly of Surapol Poonpiriya as Sopol (the most demanding role in acting terms), Prapamonton Eiamchan as Laila (The most demanding in physical terms) and Vasuphon Kriangprapakit as Tul are quite fitting. Furthermore, Lee Chatametikool’s editing connects the various segments in a way that adds to the disorienting, surrealistic approach of the narrative, while the arc that unfolds from TV adds another level of, quite entertaining, weirdness. At the same time, however, one cannot ignore that the movie’s focus is more on impression than substance, something that faults, at least partially, its quality particularly since its duration reaches almost 2 hours.

“Motel Mist” may not thrive on context, but sometimes the “package” (style) can be more important that the actual “gift” (context), and this is definitely one of those cases.

Trailer: The Tremor by Balaji Vembu Chelli

Sun, 17 Jan 2021 07:30:00 GMT

Following a tip-off, a rookie photojournalist sets off to report on a destructive earthquake but soon finds himself on a mysterious journey that questions the line between fact, myth and sensationalism.

Short Film Review: Muito Prazer (2020) by Park Jengil

Sun, 17 Jan 2021 04:32:03 GMT

The recent Nike campaign in Japan caused, as expected, quite the response, though for various different reasons. Some were upset by the accusations of Japan as a country where racism is present – no one likes such an accusation pointed their way – while others felt it a bit rich that an American company could throw any such accusations anyone’s way at this time. But some felt that, with Japan being a fairly homogenous society, racism wasn’t a particularly prevalent problem to be a point of focus. It is this last point that is the focus of director Park Jengil’s short about a cultural exchange between two schools: one Japanese; one Japanese-Brazilian. In a short timeframe, Park is able to convey notions of naivety, blindness and misconceptions, alongside empathy and a willingness to understand in a well-balanced piece.

Muito Prazer screened at Skip City International D-Cinema Festival

Kanamoto (Chong Sun-yong) is the head of the student exchange programme at the school where she teaches. The problem is that there are only 2 students in the group: Yuriko and Kaoru. With an upcoming exchange with a Japanese-Brazilian school coming up, Kanamoto invites Numata along to stimulate conversation, believing him to be the life-and-soul of the party, when Japanese tend to be rather ‘shy.’ Living in rural Ibaraki, however, the trio of students weren’t even aware that there were any Brazilians in the area, let alone enough to populate a school.

While the Japanese are largely ignorant, but willing, the Japanese-Brazilians they are to meet are less than enthusiastic. With a history of bad experiences, the students feel forced into the meeting, wanting – and expecting – nothing from the Japanese they are to meet. The exchange starts as expected: the Japanese unsure what to say; the Japanese-Brazilians unwilling to participate. It starts awkward and becomes heated, but the boiling-over of emotion breaks the ice. When this happens, they can see that a very complex problem can be dealt with very simple solutions.

With a short runtime to work within, Park is quick to set the scene and the problems at hand, switching between the two groups as they prepare for the ‘exchange.’ The Japanese talk about which nationalities they find attractive and how they didn’t know there were many Brazilians in the area. The Japanese-Brazilian school, however, are worked up and almost offended by the idea. After years of being subjected to discrimination, they don’t want to sit and talk with the Japanese.

With an improvised feel, the camera plays its role as if a documentary, watching in on the group. The host school students share their experiences out of frustration at being forced into this situation. Their frustrations are furthered when Kanamoto talks slowly in Japanese to them. While they choose to speak mainly in Portuguese and English, they speak Japanese fluently, many having been born in Japan.

But Park uses Kanamoto cleverly throughout. It’s clear she wants more than just a bland exchange between schools. With accusations thrown her way, she reveals personal experiences her Japanese students were not aware of, but while her Korean ancestry provokes some sympathy, livewire in the group Debora (Debora Barbosa Eguchi) states how she is still able to blend into Japanese society by having a ‘false name and face.’

The minority students are very much unseen in the government’s eyes. The better researched Yuriko mentions how Brazilian schools are private and not officially recognised. These students will leave school with no officially recognised qualifications, going out into a world that will discriminate against them.

But, when the pressure is off, the students realise that the simplest things can connect them. The ‘shy’ Japanese girls reveal trivial and banal facts about themselves to try and end an awkward silence. For once, a Japanese has spoken to them on an equal level. Like with most things, talking can make things a lot better, and far more relaxed.

Using this short exemplar, Park is adept at getting his point across in just a few moments. He paces “Muito Prazer” well and allows the audience to share in the emotional experience of the cast. Whatever reaction to the Nike commercial may be – and how widespread the problems may be – talking about it is better than letting it go unseen.

Film Review: The Legend of Fong Sai-yuk (1993) by Corey Yuen

Sun, 17 Jan 2021 00:30:00 GMT

With regard to the sheer amount of films he made in 1993, it is safe to say Jet Li was quite the success, especially after the first two parts of the “Once Upon A Time in China”-trilogy had been released in the years before. However, his career was just beginning to take off which is also due to his role on Corey Yuen’s 1993 box-office hit “The Legend of Fong Sai-yuk”, also known simply as “The Legend” in many countries, a feature which not only received positive reviews at the time of its release, but was also honored with a Hong Kong Film Award and a Golden Horse Award for its action choreography. Combining the elements of the period piece to action and martial arts, it delivered a very popular blend of these genres and also gave Li a chance to show his qualities as a leading man, playing the titular role of Fong Sai-yuk, a talented fighter but also an inexperienced youth, telling a story about growth and resistance set in China’s Qing Dynasty.

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Even though his father urges him to study and support his mother Miu Tsui-fa (Josephine Siao), young and brash Fong Sai-yuk (Jet Li) has other things on his mind, for example, practicing martial arts and meeting his friends. He also does not shy away from competitions which is how he meets Lui Ting-ting (Michelle Reis), who, unknown to Fong, is the daughter of Tiger Lui (Chen Sung-young), a hot-headed individual and businessman, who has continually oppressed the Cantonese in the district where Fong and his family live. His predilection for control and bullying extends to his own family as he forces his daughter to marry whoever is able to beat her mother in a martial arts-competition.

While the world of Fong revolves around his district and Lui Ting-ting, who he has fallen in love with, matters become more complicated (and violent) when her and his mother find out his father has been a member of the Red Flower Society, a rebellious movement aiming to overthrow the ruling emperor. In order to defend his family and eventually his people, Fong must accept his responsibility as son and also a possible key figure in the revolution.

When approaching a feature such as “The Legend of Fong Sai-yuk”, inspired by the legend of the popular Chinese folk hero, it is best to see this first part of his story as one dealing with growth and initiation. In the role of the titular hero, Jet Li manages to pull off a believable and quite relatable development for Fong Sai-yuk, from a brash youth, self-confident when it comes to matters like martial arts but less so with regard to taking responsibility and relationships, in particular to Liu Ting-ting, into a true fighter for freedom and independence. This kind of development is mirrored by the two parts of the story, with the first half being essentially an action-comedy, thriving thanks to Li’s but also Josephine Siao’s performance, and the second half reflecting the idea of Fong accepting his more vital role in a movement which goes far beyond the borders of the small world of the district where he used to live.

Although its storytelling can be quite convoluted at times, especially with the concept of masquerade and disguises, the combination of martial arts and politics works quite well. As we learn soon, much of the everyday routine in the district where Fong and his family lives is about the idea of repression and control. For Fong and his mother practicing martial arts becomes a powerful expression of their identity and thus their freedom, a notion emphasized in many sequences, for example, when a foreigner tries to steal from Miu’s shop, and she has to teach him some manners. Besides being wonderfully executed and edited, these scenes strengthen the idea of resistance, of being independent, also with the occasional humor thrown into.

In the end, “The Legend of Fong Sai-yuk” is an entertaining martial arts feature/ period piece. Its impressive action scenes, its fight choreographies and the actor’s performances, in particular Jet Li and Josephine Siao, demonstrate what was (and still is) possible within this genre.

Film Review: Empire of Passion (1978) by Nagisa Oshima

Sat, 16 Jan 2021 21:37:00 GMT

Two years after the release of “In the Realm of the Senses”, arguably his most notorious work given the scandal it caused in many countries, Nagisa Oshima made “Empire of Passion”, which was advertised as a spiritual successor to his last work. Based on a novel by Itoko Nakamura “Empire of Passion” shares the idea of a fatal affair, emphasizing the link between devotion, passion and violence, but in the end is quite a different movie, especially due to its horror elements, which caused many to regard it as one of the inspirations for Hideo Nakata’s “Ringu”. You might even go one step further by not just calling it a different, but in many ways also a much more refined and better feature than its predecessor, telling the story of a small community whose deeply-rooted blend of superstition and predilection for gossip make it a very bitter portrayal of Japanese society and politics.

“Empire of Passion” is streaming on MUBI

In a small rural village, miles away from the nearest city, Gisaburo (Takahiro Tamura), a rickshaw-driver, and his wife Seki (Kazuko Yoshiyuki) live with their two children. Since her husband spends much time away from home and only comes back late in the evening, former soldier Toyoji (Tatsuya Fuji) keeps Seki company, chats with her and has the occasional cup of sake. Even though these visits have been the cause for much gossip already, especially Seki has never spend much thought on them since the age difference of 26 years between her Toyoji is quite huge. However, the former soldier does not care much for these differences as he becomes more and more demanding in his flirtations so that eventually Seki gives in and sleeps with him. In order to cover up the deed and be together, Toyoji comes up with the plan of killing Gisaburo and hiding his corpse in a well in the nearby woods.

Three years after the murder, the two still manage to keep their relationship a secret, but now the topic of the gossip has shifted, focusing on the ongoing absence of Gisaburo, who, as Seki insists, is in Tokyo where he hopes to make more money for the family. However, her cover lie begins to crumble when, one evening, Gisaburo’s ghost appears in her home, and also to some of the other villagers, who begin to suspect foul play. While Seki begins to question her sanity, becomes increasingly agitated and upset by the recurring visits of the ghosts, an inspector from the city arrives, willing to take on the case of the missing rickshaw driver.

Similar to “In the Realm of Senses” Oshima closely takes a look at the distinction between the private and the public sphere, in this case even rural and urban Japan in a way. What is most interesting is not how but who represents certain values with the inspector played by Takuzo Kawatani being the most obvious example, emphasizing in one of his speeches to the villagers that “civilization and enlightenment” are the ruling forces of the day. Meant as a reassurance with regard to his investigation, he further distances himself from the microcosm of the village, finding them vulgar and barbaric, which is somewhat ironic given the exploitative and intrusive means he uses to go about his investigation. As a representative of power, he utilizes oppressive methods, such as extortion and blackmail, defining a very bleak reflection on those authorities he represents, in a way similar to the intellectual in “In the Realm of Senses” captured in a conflict of his obsession and impotence.

Considering “Empire of Passion” is also a crime story, the very nature of the crime exposes the system of oppression of the moral code represented by the villagers and the state. While there is certainly no question about the depravity of the crime, it has to be considered within the context of this kind of system of repression, whose problematic relationship with the body and sexuality creates taboos, for example, the relationship of the two main characters and the age gap between them. Similar to Hideo Nakata’s masterful “Ringu”, the well becomes the perfect symbol for the return of what has been repressed, with Toyoji developing a fatal obsession with the place and the recurring visions of the ghost. Oppression of feeling creates ghosts and violence, making “Empire of Passion” a truly brutal story, about how a certain level of repression results in violent outburst, in murder, lynch mobs and sadism.

“Empire of Passion” tells a provocative story about guilt, oppression and a fatal affair. In a way, Nagisa Oshima has truly directed a sequel to “In The Realm of Senses” because it is narratively and formally a more provocative and subtle approach to themes which nowadays seem more relevant than ever given the kind of “ghosts” taboos and a repressive moral code give birth to.

Short Film Review: Kaala (2020) by Taurin Jain

Sat, 16 Jan 2021 16:41:00 GMT

“Bryan is a Nigerian teenager who is struggling to acclimatise to the new culture of India, arrives at a busy locality to meet his girlfriend. Amazed looks and nasty comments begin to discomfort Bryan. However, the very thought of seeing his newfound love keeps him exhilarated. To his surprise, Rashmi playfully disagrees conforming to the date. Nevertheless, Bryan being the adamant self keeps inducing Rashmi. And in an attempt of doing so, he enters the parking lot to encounter something he wished he never did.” (Official)

“Kaala” review is part of the Submit Your Film Initiative

Kaala addresses the racial discrimination against the African citizens that took place in Delhi and its adjoining areas between 2016 till mid of 2017, marked by a series of hate crimes perpetuated against said immigrants. This social issue is the defining narrative drive of the short that has subsequently won accolades in being the first Indian film to address this issue. In western society, race has become a huge talking point in both sociology and politics, spanning far enough for many to only focus on the problems inherited in their own culture. To this degree, the abhorrent behavior towards the young Nigerian teenager will feel familiar in concept but alien in removing it from familiar landscapes.

The issue of racism within Delhi is conveyed in a way that is both eye-opening and understandable. As a result, “Kaala” already marks itself as a success, before even approaching any technical elements, in its tactful approach of handling the issue. While a sensitive subject, director Taurin Jain is able to explore prejudice in both a passive and active manner with snide remarks from the citizens acting to frame the eventual conflict that sees Bryan fighting for survival. In addition, “Kaala” presents its subject as a deeply empathetic character, someone who is generally caring and considerate, a fact made all the more chilling in a conclusion that has him reflecting on his social identity through skin color versus his personal morality.

To say the film’s strength lies solely with narrative would be a disservice, as the production’s technical elements excel in capturing both the tension and the quiet hostility towards its subjects throughout the urban landscape. Cinematographer Indraneel Lahiri proves to have a keen eye for framing the action, with some chilling shots that show its lead’s actions come background to horrible racist rhetoric, baseless and hidden from the protagonist’s ear shot. In equal measure, Lahiri excels at capturing Bryan’s own responses to such words that seem often felt in the mannerisms of those he comes across over the dialogue made audible to the viewer. These sequences are also seamlessly edited together by Rajan Kumar Singh, who deserves mention in creating the overall atmosphere. Finally, the production is highlighted by an energetic score and sound design that compliment the production throughout.

The performances in “Kaala” remain serviceable within the a short film largely consumed by a chase and sequences of violence. Ultimately, the actors don’t get enough screen time to really give a fair critique of their work, with many meant to just embody extreme racial prejudice as their only trait. The one exception rests with lead Jude Boman Tony, who conveys the sincerity of a character destroyed by the injustices he faces. Ultimately, Tony goes through the full spectrum of living as an upright citizen to realizing his actions mean nothing when faced with preconceived notions of being a ‘degenerate’.

“Kaala” feels like an important film, and not just because it is the ‘first’ to tackle such issues taking place in India. Rather, the short speaks to the universal horrors that come with defining people through skin color over their actual merit, how this makes monsters of men and strips people of privileges within society. In addition, the wonderful presentation makes it an engaging cinematic experience that should not be overlooked.

Anime Review: Moriarty the Patriot (2020) by Kazuya Nomura

Sat, 16 Jan 2021 10:30:00 GMT

The myth of Sherlock Holmes has been told a plethora of times, with the adaptations varying significantly over the years. This time, Production IG and Kazuya Nomura adapt the mystery manga by Ryosuke Takeuchi which functions as a prequel to the franchise, focusing though, on Holmes’s arch enemy, Professor Moriarty.

In a Victorian setting, taking place in a somewhat imaginary 19th Century London, class stratification has become the ultimate law of the country, with the despicable nobility treating all the people beneath them like something between slaves and animals. Albert Moriarty is the eldest son of one of those aristocratic families, who are forced by the Duchess , though, to adopt an orphan, with the number eventually raising to two, after Albert’s interactions with two brothers in a local orphanage, William and Louis. His mother and his brother, a sadistic racist, are infuriated by the adoption, and proceed in trying to make the brothers’ life as miserable as possible. Albert, however, is tired of his family’s and essentially, of all the aristocracy’s behaviour towards common people, and eventually conspires with the two adopted brothers to kill his brother, burn down the family estate, and then start a new life together aimed at using illegal means to destroy the class system which had plagued the country for centuries.

Years later, the three brothers have reached adulthood, with William, whose genius has been recognized repeatedly, working as a mathematician in the university, Louis being his assistant and Albert helping from a distance. At the same time, however, William runs a side business that allows people who have been wronged by the ruling class to exact revenge in the most violent and murderous ways, while he has an ulterior plan to overthrow the aristocracy by plunging the country into anarchy. For his plan, he is assisted by two more associates, Fred and Sebastian.

Eventually though, and during the execution of an elaborate plan taking place on a cruise ship, William is confronted by a man who seems to share an equal level of genius, Sherlock Holmes, with the series changing the point of perspective after episode 7, to him. In that fashion, we meet his associates, Watson and Irene Adler, who help him in his quest to clear his name after Moriarty frames him in order to check how much of a threat he is. Soon, the fight is on.

After a bit disorienting first episode that shows the whole Moriarty group in action, the story of the three eventual brothers starts from the beginning, with episodes number 2 and 3 being probably the best in the whole series, greatly combining drama with thriller and exploitation elements.

Apart from that, Kazuya Nomura does three things great. First, presenting the members of aristocracy as truly despicable, monsters who care for no one apart from themselves, with the majority of episodes highlighting the fact in the most eloquent fashion, thus giving the title a sociopolitical elements that enriches the narrative significantly. Secondly, he analyzes his characters and particularly his two main opponents to the highest degree, presenting them both as geniuses but also as human beings who have to face everyday problems, with the second aspect being more intense in Sherlock’s case. Thirdly, he follows the recipe established by “Death Note” and “Code Geass”, of introducing an ingenious character who becomes immediately likeable through his ingenuity, before highlighting his chaotic good nature and introducing a more than worthy opponent.

This approach allows the series to eventually rise above its episodic, “villain of the week” structure that takes up episodes 1-7 with the exception of 2 and 3, setting up the next season as a battlefield that will definitely be even more impressive than this one.

At the same time, the presentation of the Victorian era with all its mysteries is implemented in great fashion in the narrative, with the work done in the details (clothes, vehicles, weapons, shops etc) being top-notch. In general, both the drawing and the animation by Production IG is excellent once more, with the movement of the characters being utterly realistic and the background beautiful and detailed even during the darkest episodes. On the other hand, the job done in character design by Tooru Ookobu has its faults, particularly since many of the characters look too much alike in their “Europeaness”, something that occasionally makes the series somewhat confusing. However, as the narrative, the overall story, and the characters are quite interesting, this aspect becomes an almost insignificant detail in the end.

“Moriarty the “Patriot” is an excellent anime, and the fight between Moriarty and Sherlock’s groups definitely one to follow.