26th TOKYO INTERNATIONAL FILM FESTIVAL : THE REPORT (2)

26th TOKYO INTERNATIONAL FILM FESTIVAL : THE REPORT (PART 2)

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DAY 3

            It’s day 3 and just like Tom Hanks said, ‘You have nine days marvelous motion pictures coming your way’, the P&I screenings lineup continues with ‘Barber’s Tales’, ‘Au Revoir l’été’, ‘Drinking Buddies’, ‘Bending The Rules’ and ‘Of Horses And Men’ in the competition section, special screenings of ‘Jinx!!!’, ‘There’s Nothing To Be Afraid Of’ and ‘A Band Rabbit and a  Boy’ in The Japanese Cinema Splash section, ‘Bhopal : A Prayer For Rain’ and ‘Nobody’s Home’ in Asian Future and ‘What They Don’t Talk About When They Talked About Love’ in World Focus. There are some public screenings also for ‘To Live And Die In Ordos’ (Competition) ‘Walking With A Friend’ and ‘Sad Tea’ (Japanese Cinema Splash), ‘Rigor Mortis’ and ‘The Tale of Iya’ (Asian Future), ‘A Street In Palermo’ (World Focus) as well as the upcoming ‘The Railway Man’ starred Colin Firth, Nicole Kidman & Hiroyuki Sanada and ‘Ties’ in Special Screenings section. The admission ticket for each public screenings varies from 1000 – 3000 Japanese Yen. For the talkshow session, we have ‘2nd Future Line-up Collection of Tokyo International Film Festival’, ‘Pioneers of Japanese Animation : Digital Restored Masterpieces’ by animation director Koji Yamamura and an interesting symposium by Chris Weitz and Takashi ShimizuUS – Japan Film Academy’ that talked about the production collaboration in the future between two countries.

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Reviews :

Barber’s Tales (2013, Phillipines / Jun Robies Lana)

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            Originally titled ‘Mga Kuwentong Barbero’ in Tagalog, ‘Barber’s Tales’ is a work from young Phillipine director Jun Robies Lana who made the excellent indie hit ‘Bwakaw’ (2012). Set in the 1970s remote province under their dark historical episode of Ferdinand Marcos dictatorship as part of his trilogy about countryside life, ‘Barber’s Tales’ tells a story about Marilou (Eugene Domingo, famous Phillipine actress who were widely known more as a comedian in most of her movies), a newly widowed who inherits the town’s barbershop from her bad husband (played by Daniel Fernando). By a local priest Arturo (the famous Eddie Garcia in  his short appearance) who encourages her to continue the business, Marilou became a female barber with her long time skills as her husband’s only assistant. Although ‘the lady barber’ doesn’t seem common, Marilou keeps on and soon she finds herself caught between the dictator government and the rebels, led by his godson Edmond (Nicco Manalo).

            The script build Marilou’s character effective enough towards her turnover to choose one side as a kind of heroine to the rebels resistance. And it’s Domingo who handled her part beautifully almost in her every acts. At many times, the movie was on the edge for turning into a comical storytelling, but Domingo’s serious transformation is really convincing to keep its pace. Carlo Mendoza’s cinematography, Chito Sumera’s production design and the beautifully haunting piano theme by Ryan Cayabyab also some other things to be noticed as well.

           The other side-characters, from Arturo to Edmond and two opposite women in the village, Susan (played by Gladys Reyes), a sex-tortured wife and Cecilia (Iza Cazaldo), a mayor’s beautiful but unhappy wife to build the conflict among abuse spouses also worked effectively for its characters development. And as ever, Jun Robies Lana explored the sex elements, which were always strong in Phillipine Cinemas, wonderfully relevant. Beyond the strong feminist feel to resist men’s domination, ‘Barber’s Tales’ is an engaging story of spiritual awakening, not only in politics, but also in any aspects of life.

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       In the Q & A session, Lana said the story is entirely fictional but they really tried to create an accurate historical backdrops, including a choice to use barbershop as a metaphor where in many cultures, it was used for a place to exchange informations. He also explained about sex elements in Phillipine Cinemas, the long history of dictatorships in his country and a perception to his choice in bringing the conclusion to a metaphor of light, which is much more optimistic one, because the struggle for Filipino women to liberations is still relevant until now, from labor problems to overseas workers.

Au Revoir l’été (2013, Japan – USA / Koji Fukada)

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            Means ‘A Farewell To Summer’, this Koji Fukada, a Japan’s new wave director’s second feature feels almost like an obvious tribute to French auteur Éric Rohmer’s works, mostly his ‘A Summer’s Tale’ in every frame to the narrative style. Focused on the youthful romance relationships on the seaside, beyond two main characters, a woman named Mikie (Mayu Tsuruta) and her high-school niece Sakuko (Fumi Nikaido). In the same villa they borrowed for a short break, Sakuko is in her way to university entrace exams, and Mikie busy translating books about Indonesia as an ethnographer. With characters encountered their lives, these two women digging their past towards the future to find each existence.

            Bringing lots of issues among the characters, from Indonesian culture includes gamelan music to nuclear radiation along the very moody set in a coastal town, the narrative also felt a little too isolated. In the end, it stood as most arthouse’s most crucial problems to various kinds of audience. Some might praised or even hated the blurred focus to deliver Fukada’s storytelling on the tangled lives of its characters, also the plain visuals, but at some points, the actors’ performance were never failed to capture our attention.

The Railway Man (2013, Australia – UK / Jonathan Teplitzky)

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            Directed by Jonathan Teplitzky (‘Better Than Sex’, ‘Burning Man’), ‘The Railway Man’ is an adaptation of the bestselling autobiography of Eric Lomax (played by Jeremy Irvine & Colin Firth), published in 1995, a railway enthusiast who were a former British officer captured by the Japanese and sent to a POW camp and forced to work on the Thai – Burma railway we knew as the famous ‘Bridge On The River Kwai’. While the ‘River Kwai’ novel and movies was fictional over the historical background, this story of reconciliation between Lomax and his former torturers, Takashi Nagase (played by Tanroh Ishida & Hiroyuki Sanada) who later became a good friend, is an extraordinary true story. Nagase also had his own version in a different book titled ‘Crosses and Tigers’, and their story has made into a documentary, ‘Enemy, My Friend’ (1995 / Mike Finlason, dir.) and television drama ‘Prisoners In Time’ (1995 / Stephen Walker, dir.). Nicole Kidman plays Lomax’s wife, Patti, and Stellan Skarsgård plays Finlay, Lomax’s best friend.

            Portraying Lomax with his post traumatic stress and severe melancholia, Firth has given his deeply remarkable act. Jeremy Irvine who played young Lomax and Tanroh Ishida gave their really good impressions on this torturing and haunting true story. Nicole Kidman, who later replaced Rachel Weisz as Patti might not so importantly focused on, but also effectively worked to help Lomax’s character. Hiroyuki Sanada was good, but sadly given too short screen presence to improved his character’s turnover. In the technical departments, Garry Phillips’ cinematography and the score by composer David Hirschfelder was also good.

            But being well acted and handsomely produced is not always enough. The biggest problem in ‘The Railway Man’ is the script by Frank Cotrell Boyce and Andy Paterson. Beside using a bit too many of its duration to go along with the prison-torturing dramatic cliché, at many times the narrative was felt a bit too verbal that it failed to peak the emotional and psychological impact. How Lomax conquered his past towards the unexpected friendship at the conclusion was rather too easy and hardly believable. It was still moving at some turns, but also keep you wanting more for the greater outcomes it should be deserved.

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            Appeared in the Q & A session, director Jonathan Teplitzky, producer Chris Brown, producer-writer Andy Paterson and actor Tanroh Ishida who played young Nagase also conveyed Hiroyuki Sanada’s apology note for not being able to come to the festival due to his shooting schedule.

Drinking Buddies (2013, USA / Joe Swanberg)

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            Known for his vanguard style in US independent movie scenes and festivals, profilic writer – director Joe Swanberg usually have a certain loose levels directing his movies. Build the narrative by many improvisations, no wonder, many big names are intrigued to be in  his movies. This ‘Drinking Buddies’ really has a wonderful ensemble cast from Ron Livingston, Jake Johnson to Anna Kendrick and Olivia Wilde, includes a cameo from Wilde’s real life lover and Swanberg’s good buddy, Jason Suidekis, who actually forced her to read the part.

            But like most small scale production movies with a bit of idealistic, the real deal in ‘Drinking Buddies’ is its character development over a simpe idea and the use of brewery to deliver some cultural touch in the theme. It might looks like a cliché rom-com, but there’s always some more to get, mostly in the new subgenres called mumblecore, which obviously has Swanberg’s name all over his movies.

            Focused on the relationship among two couples, Luke – Jill (Jake Johnson – Anna Kendrick) and Chris – Kate (Ron Livingston – Olivia Wilde), ‘Drinking Buddies’ offered complicated emotions between them. While Luke and Kate who worked in the same Chicago microbrewery has a same kind of free spirited souls, Chris and Jill is more mild-mannered people with plans. And yeah, you’ll know where this goes.

            Exploring the entropy of human interactions, there are deep emotional truths in almost every scenes and dialogues, which some were improvised by the actors, in Swanberg’s special way, to build the gritty atmosphere of these opposite-sexes. To add more, each characters has also given the different background in capturing details, like Kendrick as a teacher to kids with special needs. And it’s good to see Wilde, Johnson, Kendrick and Livingston come with a very natural act as they can be. Like having everyday conversations with the light alcoholic drinks with your closest friends after works,  ‘Drinking Buddies’ will take you to a simple journey, yet filled with many, many, deeper perceptions of a relationship. It’s a mumblecore and more.

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            Alicia Von Couvering, the producer of ‘Drinking Buddies’ appeared in the Q& A session, explained how they could get that wonderful cast and some behind the scenes stories. Still with Swanberg’s method at those certain loose levels, the script is often came just experimental wrapped with a small and simple sentence to really get the characters in the story. ‘They fight’, ‘They talk’, etc. Just interesting.

Bending The Rules (2013, Iran / Behnam Behzadi)

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            Although differs in each style of filmmaking, as one of Iranian Cinema’s new wave directors, in his second theatrical feature (the first was 2012’s ‘Before The Burial’), Behnam Behzadi is continuing the legacy of modernized perceptions by the country’s new generations. Stood between conservative tradition and youth rebellions, the movie’s original title, ‘Ghaedeye Tasadof’, brought a caricatural approach to build its conflict among young theatre group in crisis and generations-gap.

            The film has stole our attention by the long opening shot and the close-ups of symbols with wide range of sounds in its opening credits. A group of young theatre performers are ready to leave their country for the international arts festival in Europe. And there, the daughter and father conflict between Shahrzsad (Neda Jebraeili) and his father (Amir Jafari) surfaced among their internal matters.

            Like theatre plays behind Amin Jafari’s handheld camera works, close-ups and long takes cinematography, Behzadi brought this simple premise to many metaphors of gap between generations and traditions in their country. Globalizing factors against the conservative cautions. But the best thing about ‘Bending The Rules’ was that he choose to play in grey area to build the characters as human beings, and like most thought-provoking Iranian films, Behzadi leaves us with the questions of choice.

            The dialogues from Behzadi’s own script was as strong as the actors’ natural performance without ever fell into a too dramatic reactions. It’s like we’ve seen them on stage, but the cinematically dramatic tension was also very gripping.

Of Horses And Men (2013, Iceland / Benedikt Erlingsson)

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            As Icelandic Cinema is becoming more popular these days, ‘Of Horses And Men’ offers something a bit different. Using many symbols in a staggering naughty-but-light comedy to explain passions and desire, is as unique and distinctive as the poster concept.

            Comes from Benedikt Erlingsson, an actor turns director in his directing debut, ‘Of Horses And Men’, also this year’s Iceland submission to the Oscar, tells a story of a remote Icelandic rural horse-riding community. Focusing its metaphors between man and animal named horses, Erlingsson talks not by words but through pictures, which is not only comes astonishing but also boldly surprising, from the panoramic shots of the countryside to each detail of the symbols, both to human and horses.

            Apart from the idea, Lense Bregsteinn Bjoergulfsson’s cinematography and David Thor Jonsson’s traditional Irish score really delivered a cinematic experience which you’ve never seen before.

DAY 4

            Entering the fourth day, we’ve got the special screenings of ‘Patema Inverted’, ‘Bilocation’ and ‘Oh! Father’, the highly anticipated ‘Love Is A Perfect Crime’, ‘Disregarded People’ and ‘Those Happy Years’ in the competition section, ‘Forma’ in Japanese Cinema Splash, ‘Zone Pro Site : The Moveable Feast’ in World Focus section, and ‘Tinker Ticker’ in Asian Future. In Public Screenings, now it’s the turn for ‘Bending The Rules’, ‘Disregarded People’, ‘Bhopal : A Prayer For Rain’, ‘Takao Dancer’, ‘A Band Rabbit and a Boy’, ‘Jinx!!!’, ‘Today And Tomorrow’, ‘The Empty Hours’, ‘There’s Nothing To Be Afraid Of’, ‘Together’, ‘Love Is A Perfect Crime’ and ‘What They Don’t Talk When They Talked About Love’. There are also an arena event for the animated ‘DokiDoki! Pretty Cure The Movie : Memories For The Future

            For the press in journalist program, there’s also an interview with Yasushi Shiina, the new festival director for this year’s festival. As a veteran in Japan film industry, also a producer, Yasushi Shiina will begin his three-year term as the festival director. With his new vision on the festival, TIFF will stand as a more star-studded festival for the upcoming years. There were many questions asked, including one with the appointing of director Chen Kaige as head of the jury during the Japan – China tensions. Mr. Shiina said that although the tensions still arouse, he’s known Chen Kaige for 20 years, not only had a good relationship, he’s also holding the rights in some of Chen Kaige films for Japan video distributions. And it was a very good thing that Chen Kaige agreed his request, and overall that film shouldn’t be having anything to do with politics. On the other hands, by understanding each contents through their films, which should be the mission of every filmmakers, he wished that the gap can be closed.

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            Other than his new visions of giving more support to young Japanese directors in the Japanese Cinema Splash sections and raise the festival’s profile in terms of helping the growth of local film industry and get more attention from overseas, Mr. Shiina then said that in Japanese film contents, anime always took a major part. So along with this supporting visions, he also aware to increase the focus on anime movies in the festival. For this year, there are three anime movies including ‘DokiDoki! Pretty Cure The Movie’, ‘Patema Inverted’ and ‘Bayonetta’, while ‘Beyond Two Souls’, voiced by Ellen Page and Willem Dafoe that originally released as a videogame failed to made their appearance for the festival. But in the upcoming years, Mr. Shiina said that anime should take a bigger part in the festival, and he will try to bring more into the next year’s festival.

            About the thematic change from the green festival, Mr. Shiina responded that the festival should be first about the movies, although ecological message is also very important. He also said that the selection committee choose 15 movies on the competition section over 1000 candidates without any intentions on the similarity of resistance theme in those 15 on the final list. On the final words,  he said that there might also be many ways to works with other Japanese embassy overseas and foundations, and they’re very lucky to have the Olympics coming in 2020, where TIFF should also be a big part to increase those attentions.

               To close the night, a special networking event titled ‘Tokyo Cinema Night’ presented by TIFF and Tanabe-Benkei Film Festival also held at the TIFF Movie Cafe, Roppongi Hills. From the press to film buyer and distributors, this is an effort to encourage and give more support to young Japanese filmmaker where each of 16 young Japanese directors whom officially invited to the festival will present their works. Being a platform to meet influential film people TIFF invites in order to promote Japanese young talents and visual culture to the world, the details will come up soon in the special section.

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Reviews :

Love Is A Perfect Crime (2013, France – Switzerland / Arnaud Larrieu & Jean-Marie Larrieu)

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            French duo directors, Arnaud and Jean-Marie Larrieu, also known as Larrieu Brothers, team up again with Mathieu Amalric (‘The Diving Bell And The Butterfly’, ‘Quantum Of Solace’) after ‘Happy End’ (2008) and ‘A Man, A Real One’ (2003) in this thriller adapted from the novel ‘Incidences’ by Phillipe Djian. Set in the chillin’ mountainside of Switzerland,  ‘Love Is A Perfect Crime (L’Amour Est Un Crime Parfait)’ tells the story of a lustful literature professor (played by Amalric) trapped into the misterious disappearance of one of his student (Marion Duval).

            Using many tricks and thriller’s common template such as not just one femme fatales in erotic structure to distracted the audience in this Hitchcockian thriller, ‘Love Is A Perfect Crime’ really shines by its technical credits ; Guillame Deffontaines’ camera work  and Caravaggio’s synthesizer score ; and Amalric’s fine act portraying a ladies man in the lead. Polisse actresses Maiwenn and Karin Viard, with Sara Forestier also gave a convincing performances each as the girl’s stepmom, the professor’s possessive sister and his lustful student. It’s good to finally see a decent erotic thriller that does not fall into cheap tricks, but wrapped with classy designs in the production.

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            Amalric himself, who reached the festival the day after to do a Q& A session, told some interesting things in the making of ‘Love Is A Perfect Crime’. That in the hands of two directors, which he said as a joke like a two headed monster, the process is always more intriguing. In the case of Larrieu Brothers, each Arnaud and Jean-Marie has a different specialties. While one cares a lot about frameworks, the other put the concern in organizing other details. And that he see something different in ‘Love Is A Perfect Crime’ as an unusual exploration to human body and soul through the exotic landscape of the sets.

            ‘Love Is A Perfect Crime’ is scheduled to release in January 2014.

Bhopal : A Prayer For Rain (2013, India / Ravi Kumar)

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            Revisiting the Union Carbide chemical gas disaster in Bhopal, December 1984, based in London – Indian director Ravi Kumar, who is actually a paediatrician, in his big screen debut, first received the market screening in 2013 Cannes Film Festival. It follows the lives of its multiple characters ; some based on original characters and some fictionally inspired and based on interviews, from a small family of low-wage worker heading towards the wedding, other factory workers to reporters and executives during the disastrous events known as the biggest industrial disaster in human history. It took lives around 2500 people in two weeks, at least 25000 years after the disaster and over 500000 severe injuries, some of them permanently disabling.

            ‘A Prayer For Rain’ starred international actors Martin Sheen as Warren Anderson, the chief executive of Union Carbide, Kal Penn as real life local journalist Motwani who wrote provocative articles in the plant, Mischa Barton as fictional French’s Paris Match journalist Eva Gascon and Rajpal YadavTannishtha Chatterjee as a low class worker family Dilip and Leela Kumar. Covered by some controversies from several NGOs and campaigners, in the Q & A session Kumar said that the script he was written with David Brooks, nearly 10 drafts over 4 years, is a dramatisation of the factual events.

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            Despite of the journalist’s POV, they choose more down-to-earth characters with their moral and ethical dilemma of the victims played by Yadav and some local actors to keep the storytelling becomes emotionally binding. ‘Some of them might be fictional, but truly inspired by real events and characters. The technical and medical facts are authentic and based on interviews with surviving victims and even the Carbide staff’, he said. Intrigued by how a executive giants could walked away from such a disaster, the effort was to create coherent debate in society about the disaster and raise concerns in an incisive manner, mostly for new generations that will learn more about that huge disastrous event. And it’s also became the reason why they picked the internationally well known cast to portrayed the characters, so the movie, which scheduled to some charity premieres later, could reach wider audience around the world.

       Being medically and technically accurate without ever losing the pace of a moving and emotional drama, with powerful cinematography by Charlie WuppermannJean-Marc Selva and scores by Benjamin Wallfisch, ‘A Prayer For Rain’ will leave you haunted even after the movie ends. Not only it explores the disastrous event and the lives around with astonishing details, the human interactions also comes with deep and heartful emotions that will touch everyone’s hearts. It may have big names with each great acts, but the one who really shines portraying his part with coherent intensity is Rajpal Yadav as DIlip Kumar. A great debut from Ravi Kumar, and it’s lucky we got to see the unreleased cut of the movie in this festival. Kumar also asked the audience to give their votes for the ending scenes that was still in debate with some distributors. And more interesting thing, Sting and Ravi Shankar’s daughter, Anushka Shankar have recorded the theme song which will appear in the final theatrical cut.

Disregarded People (2013, Japan / Hideo Sakaki)

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            Having its premiere on this year’s festival, this live adaptation of George Akiyama’s manga ‘Sutegataki Hitobito’ directed by actor-turns-director Hideo Sakaki as his fifth feature. Like the manga that depicts the moral ambiguity of human desires, ‘Disregarded People’ tells a story of Yusuke (played by Nao Omori from ‘Ichi The Killer’), a nihilistic dimwit preoccupied with sexual desires, and so is everyone around him. Return to his hometown, he then met a girl with birthmarks almost over the whole face named Kyoko (played by Hitomi Miwa in a daring nude scenes) who’s willing to fulfill Yusuke strange fantasy. While they’re looking for self-happiness, all kinds of sexual unpleasantness then runs amok among the characters in this film.

            Like many adult exploitation genre in Japan Cinema, ‘Disregarded People’ was also filled with nihilistic and negativity. At many times, the whole structure was using the perverted elements like rape and any unpleasantly gritty sexual scenes, and Sakaki pushed it a bit too far into disgusting feels. Just like he said, the goal was to made the audience feel such uncertainty. ‘Disregarded People’ was truly a unique exploration of human sexual desires, but instead of being any smarter, it choose to stay pointlessly nasty. Really, really nasty.

Forma (2013, Japan / Ayumi Sakamoto)

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            For a feature debut during 9 years of struggling to complete it, director Ayumi Sakamoto’s idealistic visionary can be seen obviously. In the Japanese Cinema Splash section, it wrapped with most indie signatures. The title ‘Forma’ comes from the latin word ‘Format’ which basically means ‘Essence’, and in a more romantic word as Sakamoto’s explain in the Q&A session, ‘Spirit’.

            ‘Forma’ tells a story about an encounter between Ayako (played by Emiko Matsuoka) , a lady worker who lived with his emotionally challenged father (played by Ken Mitsuishi) and confused to take her life direction, with Yukari (played by Nagisa Umeno), her former classmate who works on a construction site. Ayako invites Yukari to join her company, and soon the cycle of hatred spread among them.

            Over a half first part, the movie runs dark, slow burn, overlong (145 mins duration) and full of heavy dialogues, but finally getting sharper towards the conclusion, which is really challenging beyond its over 20 mins one take with a single shot. The performance is also top-notch. An admirable efforts that intrigued us to see Sakamoto’s next work in the future scene of Japan independent movies.

Bilocation (2013, Japan / Mari Asato)

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            Comes from the director – screenwriter of ‘The Grudge : Girl In Black’, Mari Asato, ‘Bilocation’ is based on Hojo Haruka’s novel of the same name. It’s not quite a horror movie, but more to an imaginative psychological thriller of the supernatural phenomenon has been reproted worldwide, known as ‘Bilocation’, where a person could appear in two different places at the same time.

            Exploring the human’s very existence through the characters, Shinobu Tamura (played by the beautiful Mizukawa Asami) mysteriously discovered there’s another human being with the same identity as hers. Soon Shinobu was taken to a ‘Bilocation Club / No Kai’, runs by some men to protect people from their doppelgangers that wants to take over the other’s original identity. But everything is not what it seems.

            Also having its premiere in this year’s festival, Mari Asato has created a compelling supernatural tales with layered twists all over it. Mizukawa Asami gave a fine performance behind the atmosphere of traditional Japanese horror. It’s creepy, smart and also has a effective way of storytelling to build the twists.

What They Don’t Talk When They Talk About Love (2013, Indonesia / Mouly Surya)

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            Being the first ever Indonesian movie presented at the Sundance Film Festival and also a sleeper hit through its limited local release in Indonesian theatres, this second feature from young and bright Indonesian director, Mouly Surya has taken a large step from her first film, ‘Fiksi’ (2008), which also won best picture in 2008 Indonesian Film Festival. And unlike last year’s line up of Indonesian movies in ‘Indonesian Express’ section, ‘What They Don’t Talk About When They Talk About Love’ is the only Indonesian movie in this year’s line up.

            It simply tells first love experiences around sensory-challenged teens in a special school, but with the unique narrative and admirable cinematic composition, the result becomes way more challenging, that created a whole new world of multi-sensory to feel all the magical insights. Without ever has to deal with dramatically cliché elements, Mouly Surya’s directing, irresistible performance from the actors incl. Karina Salim, Ayushita Nugraha and Nicholas Saputra, and beautifully haunting scores from Zeke Khaseli, the whole movie is absolutely an emotional tour de force.

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            Appeared in the Q&A session, Mouly Surya (director/screenplay), Rama Adi & Fauzan Zidni (producer), Kelvin Nugroho (editor) and Zeke Khaseli (music), they answered some questions from the audience including Mouly’s choice through the alternate universe scene in its narrative, the use of ‘Twinkle, Twinkle, Little Star’ as an international instead local nursery rhymes and also one scene with Indonesia’s national anthem ‘Indonesia Raya’. That they’re all basically very personal, yet each has an important part in telling the stories altogether.

Read the full review here (In Indonesian language)

Makkhi (2012, India / S.S. Rajamouli)

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            It’s rarely known that Indian movies doesn’t have to be all Bollywood. Many remarkable talents and extraordinary ideas actually came from the regional film industries. ‘Makkhi’, the Hindi dubbed version of original titled ‘Eega’ in Telugu, also known as Tollywood, where the movie came from, is a groundbreaking effort in their movie industry.

            From director S.S. Rajamouli with his previous works, ‘Makkhi’ was conceived with all the Indian’s pop movie signatures. It’s mostly cheesy and comical, but made bigger by the technology they’re using to create the visual effects. The best thing about ‘Makkhi‘ is they could translate every aspects of their fantasy into mindblowing visual works. Combining live action animation and visual effects which was never used in any Indian movies by Rahul Venugopal, Adel Adili and Pete Draper from Makuta FX, ‘Makkhi’ was not only received positive critics, becomes a high grossing blockbuster, but also travel around many international film festival among the market section from Cannes, Shanghai, Madrid and Puchon Fantastic Film Festival.

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Read the full review here (In English/Indonesian language)

> continue to Tokyo International Film Festival : The Report (3)

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~ by danieldokter on October 26, 2013.

2 Responses to “26th TOKYO INTERNATIONAL FILM FESTIVAL : THE REPORT (2)”

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