And, of course, I took a lots of pictures and have prepared a photo album on Flickr (the description offers titles and details on each piece) as well as this nice video montage (on Vimeo) for your enjoyment:
(I’ve replaced the Flash slideshow with this video because it was bugging my Mac!)
[ Traduire ]
Il laisse dans le deuil son épouse Laure Gauthier, ses enfants Luce, Francine et Claude J. (Miyako Matsuda), les familles de ses frères et soeurs (Alice [feu Jean-Vianney Yale], Pauline [feu André Langlois], Soeur Madeleine [Congrégation Notre-Dame], Pierre [Micheline], Cécile [Gérard Saint-Jean] et Gilles [Marguerite] lui survivent), ainsi que de nombreux parents et amis.
Au lieu d’envoyer des fleurs, si vous désirez faire un geste à la mémoire de Claude E., nous vous suggérons de faire un don à la Société de l’Alzheimer de Montréal.
J’ai déjà parlé de mon père à deux reprise sur ce blogue (lors d’un commentaire sur le film YUL 871 et en introduisant les portraits d’artisans du cinéma de l’ONF). Aussi, je mettrai prochainement en ligne un album photo commémoratif (probablement sur ma page Flickr ou Vimeo). Pour le moment, je lui rends hommage en reprenant ici la video de son “portrait d’artisan du cinéma” que j’ai mis sur Vimeo l’été dernier:
Bonne Action de grâce (au Canada). Soyons reconnaissants pour la générosité et la beauté que la nature nous donne et pour la bonne vie que nous vivons.
“For the love of all things otaku—anime, video games, figures, you name it!—power-pedaling Sakamichi Onoda has long been conquering the steepest slopes and regularly making the ninety-kilometer round-trip to Akihabara on a granny bike!! But when his bike commute to his new high school lands him in a confrontation with the serious first-year road racer Imaizumi, Onoda has a major showdown on his hands! Can this meek geek really out-pedal the future ace of the school road-racing team?!” (Text from Yen Press)
Yowamushi Pedal (????? / lit. “weakling pedal”) is a sports manga by Wataru Watanabe which is currently serialized in Akita Shoten’s Weekly Sh?nen Champion magazine. Since its beginning in February 2008, it has been compiled in forty-one tank?bon volumes so far. The manga is popular, as its many fan pages and scanlations can attest, so it’s no surprise that it has been licensed for North America by Yen Press.
Yowamushi Pedal, vol. 1, by Wataru Watanabe. New York, Yen Press, decembre 2015. Trade Paperback, 400 pg., $24.00 US /$29.00 CAN. ISBN: 9780316309523. Recommended for a young readership (7+). A second volume (ISBN 9780316354684) is announced for april 2016.
The manga was also adapted in a two-season animated TV series (38 episodes for Yowamushi Pedal and 24 episodes for Yowamushi Pedal: Grande Road), three animated movies (Yowamushi Pedal Re: Ride and Yowamushi Pedal Re: Road simply compiles the episodes of the TV series, while Yowamushi Pedal: The Movie is a sequel) and one video game for Nintendo 3DS. The second season of the TV series is currently streaming on Crunchyroll and Discotek Media has acquired the right for the North American Dvd release (due for december 2015).
If you are a cycling fan, this manga and anime will probably interest you.
For more information you can check the following websites:
[ Traduire ]
An (?? / lit. “Sweet Red Bean Paste”): Japan/France/Germany, 2015, 113 min; Dir.: Naomi Kawase; Cast: Kirin Kiki, Masatoshi Nagase, Kyara Uchida.
“At seventy, Tokue is sure of herself, thanks to her secret recipe for exceptional dough for dorayaki, a traditional, irresistibly delicious Japanese sweet cake filled with red bean paste. In her mind, there is no doubt: Sentaro, the lonely dorayaki vendor who doesn’t like sugar, must hire her. The idea turns out to be good, because once Tokue gets involved, the little shop’s sales take off. While the old lady teaches her boss to “listen to the beans,” she can’t hide her secret for very long.” (from the Festival’s website)
Screening as a special presentation: Sat 10/10 15:30 at Auditorium Alumni H-110 (Concordia); Sun 10/18 21:00 at Cineplex Odeon Quartier Salle 10.
Belladonna of Sadness (????????? / Kanashimi no Beradonna): Japan, 1973, 86 min; Dir.: Eiichi Yamamoto; Scr.: Eiichi Yamamoto & Yoshiyuki Fukuda (based on a book by Jules Michelet); Mus.: Masahiko Satô; Animation: Gisaburo Sugii; Prod.: Osamu Tezuka; Cast: Katsuyuki Itô, Aiko Nagayama, Shigako Shimegi, Masaya Takahashi, Netsuke Yashiro, Masakane Yonekura.
“Never before officially released in North America, this one-of-a-kind cult classic can now be enjoyed in all of its splendour through a new restoration based on original negatives. [P]roduced by the legendary Osamu Tezuka’s studio Mushi Production (…). Based on a book by Jules Michelet (Satanism and Witchcraft, 1862), it tells the tragic feminist tale of a 14th-century peasant woman driven by religious oppression to give herself body and soul to witchcraft and the sulphurous charms of the devil.” (from the Festival’s website)
Screening as part of the “Temps 0” segment: Mon 10/10 19:00 at Salle J.A. De Sève (Concordia); Sat 10/18 19:00 at Cinéma du Parc 2.
The birth of saké: USA/Japan, 2015, 94 min; Dir./Scr./Phot.: Erik Shirai; Ed.: Takeshi Fukunaga, Frederick Shanahan; Prod.: Makoto Sasa.
“In northern Japan, the small Tedorigawa brewery has been making its saké using the same artisanal methods for more than a century. From October to April, the workers, all men, live together at the brewery and work non-stop, even when mourning. Cooking the rice, stirring it by hand, overseeing its fermentation… it is a sacred ritual, conducted silently in a shroud of steam. (…) There is a good reason saké is not “manufactured” but rather “born”: it is a beverage, but it is also history and culture.” (from the Festival’s website)
Screening as part of the “Panorama” segment (documentary): Thu 10/15 19:00 at Cinéma du Parc 1; Sat 10/17 19:00 at Centre PHI – Espace B.
“The film is loosely based on the famous manga Ochibi-san, by Moyoco Anno, about the day-to-day life of Ochibi as she experiences the 4 seasons of Japan.” (from the Festival’s website)
Screening as part of the “P’tits Loups” segment: Sat 10/10 10:00 at Agora Hydro-Québec du Coeur des sciences.
Journey to the shore (???? / Kishibe no Tabi): Japan/France, 2015, 127 min; Dir.: Kiroshi Kurosawa; Scr.: Takashi Ujita, Kiyoshi Kuroswa (based on a novel by Kazumi Yumoto); Cast: Eri Fukatsu, Tadanobu Asano, Yu Aoi, Akira Emoto.
“Yusuke drowned in the ocean three years ago. But one day, he reappears in the middle of Japan, more specifically in the life of his strangely unsurprised wife, Mizuki, a piano teacher, who he invites on a journey through villages and rice paddies. On their journey, there is no confrontation; there are, rather, opportunities to rebuild their bond and meet others who, like him, are still wandering. What they will find at the end is, perhaps, eternal peace.” (from the Festival’s website)
Screening as a special presentation: Thu 10/08 14:00 at Cinéma du Parc 1; Sat 10/17 16:30 at Auditorium Alumni H-110 (Concordia).
“Once there were twenty or more. Now, in the Japanese coastal village of Ushimado, there are only six. The gradual disappearance of small, family-run oyster factories may be a sign of the times, but it is more than a symbolic change: it also has very real consequences for fishermen, manual labourers and local residents, who are not happy to see workers being brought in from outside.” (from the Festival’s website)
Screening as part of the “Panorama” segment (documentary): Sat 10/10 18:30 at Cinéma du Parc 2; Sun 10/11 13:00 at Cinéma du Parc 2.
The Taste of Tea (??? / Cha no Aji): Japan, 2004, 120 min; Dir./Scr.: Ishii Katsuhito; Phot.: Kosuke Matushima; Ed.: Katsuhito Ishii; Mus.: Little Tempo; Cast: Tadanobu Asano, Takahiro Sato, Maya Banno, Satomi Tezuka, Tomokazu Miura, Tatsuya Gashuin, Anna Tsuchiya, Rinko Kikuchi.
“A spell of time in the life of a family living in rural Tochigi prefecture, north of Tokyo. Though her husband is busy working at an office, Yoshiko is not an ordinary housewife, instead working on an animated film project at home. Uncle Ayano has recently arrived, looking to get his head together after living in Tokyo for several years. Meanwhile, Yoshiko’s daughter Sachiko is mainly concerned with why she seems to be followed around everywhere by a giant version of herself.” (from the Festival’s website)
Screening as special presentation commented by Jean-Marc Vallée: Fri 10/09 19:00 at Cinéma du Parc 1.
Sumo Road: The Musical (????????? / Dosukoi Musical): Japan, 2015, 25 min; Dir./Scr.: Ken Oshiai; Phot.: Chris Freilich; Ed.: Chieko Suzaki; Mus.: Nobuko Toda; Cast: Tetsu Watanabe, Ryusuke Komakine, Lin Yu Chun, Gitarô Ikeda.
“An over- weight exchange student with no friends decides to join the sumo team at a Japanese university.But to ensure his spot, he must stand up to the team leader and face him in an ultimate sumo match. Can he embrace the spirit of sumo or will he be cast out and friendless once again?” (from the Festival’s website)
Screening as part of the “Compétition International” segment: Mon 10/12 17:00 at Pavillon Judith-Jasmin annexe (Salle Jean-Claude Lauzon); Wed 10/14 13:00 at Pavillon Judith-Jasmin annexe (Salle Jean-Claude Lauzon).
“Yoko (Megumi Kagurazaka) is a robot employed by a courier company. In her interstellar ship, shaped like a little Japanese house, she scoots back and forth across the galaxy, delivering parcels and news to people everywhere. Yoko is terribly bored, and eventually can no longer resist looking inside the parcels to learn more about the very strange phenomenon that is human nature.” (from the Festival’s website)
Screening as part of the “Temps 0” segment: Sat 10/10 17:00 at Cineplex Odeon Quartier 10; Sun 10/11 21:00 at Cinéma du Parc 1.
“He’s a benevolent vampire yakuza feared by criminals and adored by regular folk. One day two men show up: a Django-like goth preacher and a geeky fighter (none other than Yayan Ruhian from Raid 2). They belong to a rival cartel that wants him dead. But just before he dies, the yakuza vampire bites his faithful right-hand man, young Kageyama. What happens next? The apocalypse, obviously!” (from the Festival’s website)
Screening as part of the “Temps 0” segment: Tue 10/13 19:00 at Cineplex Odeon Quartier 10; Wed 10/14 21:00 at Cineplex Odeon Quartier 10.
“Libraries provide access to information, entertainment, and the Internet. They are the backbone of democracy, sacred places where anyone can find answers to their questions. Unfortunately, people who come there for help behave just as badly they do everywhere else.”
In January Overdue Media released the eleventh compilation of the Unshelved web comics that chronicles the daily misadventures of Dewey and his co-workers at an American dysfunctional library. Reads well with others compiles the comics strips originally published on the website between April 1st 2013 and September 25th 2014, as well as the “Conference Tips” originally published in ALA CogNotes newspapers in June 2014, January 2014 and June 2014.
The Unshelved web comics is very dear to my heart despite the very average quality of the drawings (although it’s probably quite good for a web comics). The reason for that is quite simple: I work in a library myself and I can recognize in those strips situations I’ve found myself in so many times. Believe me, it’s much better to choose to laugh about it than go insane!
The quality of the strips is improving with each new volume, but unfortunately the novelty of the concept wear off so it’s not uproarious anymore. However it’s still quite funny and entertaining to read (maybe less if you don’t know well the library domain). Again, like the last couple of books, I deplore that they haven’t included the “Unshelved Book Club” pages, but at least now the book is 120 pages in full color. You can choose to read the comics for free online, but personally I prefer the convenience of having a real book in my hands (and it offers encouragements to the creators). This should be a mandatory reading for all library staff!
2013-09-02 Unshelved Vol. 11: Reads well with others, by Gene Ambaum and Bill Barnes. Seattle, Overdue Media, January 2015. 22.5 x 17 x 1 cm, 120 pgs., $11.95 US / $15.95 CDN. ISBN-13: 978-1-937914-06-6. For readers of all ages.
“Sicile, 241 avant J.-C. Après deux décennies de conflit avec Rome, l’armée carthaginoise menée par Hamilcar Barca doit déposer les armes. Son fils, Hannibal, a six ans quand il assiste à cette bataille. Mise en déroute, Carthage doit un tribut astronomique au vainqueur, et l’enfant est témoin, impuissant, de l’humiliation des siens.”
“Mais le jeune Hannibal refuse l’échec : élevé dans la haine de Rome, il va vouer son existence entière à la destruction de l’ennemi. Commence alors l’affrontement exceptionnel d’un des plus grands tacticiens de tous les temps et de son alter ego romain, le génie militaire Scipion l’Africain. Traversée des Alpes à dos d’éléphant, pillages impitoyables et combats parmi les plus sanglants de mémoire d’homme : un duel à mort qui a marqué l’Histoire…”
“Bravoure, complots et stratégie… Plongez au cœur des batailles qui opposèrent les légendaires Hannibal et Scipion !”
Je ne peux pas croire qu’un manga mettant en scène l’histoire de Rome m’ait échappé! Et c’est dans un style très décent! Il s’agit d’un manga seinen historique couramment prépublié dans le magazine Ultra Jump de Shueisha depuis mars 2011. On y raconte la deuxième guerre punique alors que l’expansion naissante de Rome l’opposait à l’empire Carthaginois au IIIe siècle avant notre ère. Il y a sept tomes de paru jusqu’à maintenant. Une bande-annonce et un extrait de cinquante-neuf pages sont disponible sur le site de Ki-oon. À lire absolument dès que j’ai un peu de temps!
Pour plus d’information vous pouvez consulter les sites suivants:
Godzilla: une métaphore du japon d’après-guerre
“Le kaiju eiga (film de monstres) continue encore aujourd’hui à offrir aux théoriciens un indicateur intéressant de l’évolution de la société japonaise depuis 1954, année de sortie du premier Godzilla. Le Japon d’après-guerre demeure sans nul doute un lieu de prédilection qui se prête à l’incarnation de plusieurs périls enfantés par l’inconscience des hommes. Godzilla et ses avatars, par leurs ravages cataclysmiques, perpétuent cette image d’une nation victime des forces de la nature ou des dérives génocidaires de la science.”
Un sujet qui me semble passionnant, abordé ici par un auteur québécois dans un essai publié en France. J’ai toujours dit que le cinéma est une fenêtre ouverte sur la société et le temps et qu’il peut nous en apprendre beaucoup si seulement on peut prendre quelques instant pour l’observer et y réfléchir. C’est particulièrement vrai pour le cinéma japonais. Vous pouvez voir la couverture arrière pour plus de détails, ainsi qu’un extrait sur Google Books.
Godzillamd: une métaphore du japon d’après-guerre, par Alain Vézina. Paris, l’Harmattan, mai 2014. 21.5 x 0.8 x 13.5 cm, 198 pg., 24 € / $40.95 Can. ISBN: 978-2-343-03201-6. Recommandé pour public adulte (16+).
Pour plus d’information vous pouvez consulter les sites suivants:
Planète japon
“Planète Japon est un magazine francophone trimestriel, entièrement dédié à la culture japonaise. On y trouve des dossiers (sur l’histoire, la culture, la société japonaise, les arts et même les paysages japonais), des articles de qualités (musique, littérature, mangas, cinéma, cuisine, technologie, tendances, etc.) mais aussi des interview. Distribué partout en France ainsi que dans certains pays francophones, Planète Japon propose un voyage entre modernisme et traditions à tous les passionnés de Japon, quel que soit leur âge et leur connaissance du pays.”
On me dit que c’est disponible en kiosques ici mais jusqu’à maintenant j’en ai fait une demi-douzaine sans la moindre chance. Pour plus de détails voyez leur site internet ou la page Facebook.
La Divine Comédie par Go Nagai
J’ai été plutôt intrigué lorsque Animeland m’a appris que les éditions Black Box (dont j’ignorais l’existence: voir leur site internet et page Facebook) allait publier fin septembre une adaptation très personnelle (et qui semble très “inspirée” de Gustave Doré—pour ne pas dire copié) de la Divine Comédie de Dante dans le cadre de leur Collection Go Nagai (3 tomes de 258 pages, 14,5 x 21 cm, 32.70 €). Cela n’a rien de récent puisque Dante shinkyoku (?????) a originalement été publié au Japon en 1994.
Je n’aime pas du tout Go Nagai: je trouve son dessin laid, ses histoires vulgaires et il a la fâcheuse tendance à usurper le travail de ses assistants sous son propre nom. J’imagine assez bien cependant une adaptation de Dante par cet auteur fasciné par l’horreur démoniaque. Je serais donc curieux de voir ce que cela donne comme résultat (en fait, nul besoin d’attendre que cette série traverse l’Atlantique puisqu’il existe déjà une “scanlation” anglaise partielle). À voir donc, mais par simple curiosité.
The Firefly Effect: Electoral 2072 – Book 1
I have this friend from college who seems to be a real renaissance man: he’s an athlete, an artist (he drew a wicked Calvin on my dorm’s door and inked the comic I scripted, Gates of Pandragon), an engineer, and a lawyer. I knew he was creative (he wrote some RPG scenarii) but I recently discovered that he also wrote a couple of science-fiction novels! Some would say they are not real books because they are not in print, but ebooks are the future and the publishing company is an open access publisher specialized in Science, Technology and Medicine! It looks quite serious (but actually they’re based in India and have a questionable record; it’s more like self-publishing as you pay them to publish your stuff). He told me that he writes hard-science and implied that it might be a difficult read since he writes for himself, assuming that his readers have a PhD in Physics! Comments are good, though, and it looks interesting so I will surely give it a try as soon as I have a little time.
For more information you can check the following websites:
A Brief History of Manga
“Manga is more than a genre in the comics field: it is a vital creative medium in its own right, with hundreds of millions of readers worldwide, a host of graphic styles, and a rich history now spanning seven decades.”
“Now for the first time, that history is told by an award-winning expert in the field. Covering topics from Akira to Mazinger Z, this book is fully illustrated throughout, and photos of key creators accompany accessible sidebars and timelines.”
“Answering the key questions of any fan where did my favourite manga come from, and what should I read next? this book will open doors to neophytes and experts alike.”
There sure has been an avalanche of reference books about manga lately, but I always said that there is never too much information. Each new books offer a new angle, a new perspective. And this time it’s written by Helen McCarthy, a well-known anime and manga specialist from the United Kingdom. I am quite curious to read it and add it to my reference shelf. I’ll try to get a review copy from the publisher (if I can reach them, their website was down for a while).
For more information you can check the following websites:
Histoire(s) du manga moderne
“1952. Le manga moderne fait ses premiers pas dans un Japon qui retrouve son indépendance après la Seconde Guerre mondiale. 2012. Phénomène culturel global, le manga est un rouage essentiel de la troisième puissance économique au monde. Comment, en soixante ans, la BD japonaise a-t-elle connu un tel essor ? Qui sont les acteurs ayant permis cette incroyable expansion ? Année après année, découvrez les événements majeurs et les artistes qui ont marqué l’histoire du manga moderne.”
J’ai introduit ce titre il y plus d’un an déjà mais, là il est finalement paru alors j’aimerais encore une fois en souligner l’importance avant d’en faire un commentaire plus approfondi. C’est un bel ouvrage avec une présentation chronologique fort intéressante. Et comme je l’ai dit plus haut, on a jamais trop de références sur le manga, chaque nouveau livre apportant une nouvelle perspective.
Histoire(s) du manga moderne , par Matthieu Pinon et Laurent Lefebvre. Paris: YNNIS Éditions, Avril 2015. 24 x 2.5 x 27 cm, 204 pg., 29.99 € / $49.95 Can. ISBN: 979-1-0933-7622-6.
Pour plus d’information vous pouvez consulter les sites suivants:
Actually, document.write(“”); I’ve seen almost all Japanese movies, except Out of my hand (after all it’s not really a Japanese film) and Shinjuku midnight baby (anyway, I’ve heard that it was terrible: too long, with too much gay sex; many girls came for the cute actors but were put off by the graphical guy on guy sex scenes). I’ve seen Master Blaster online (the student short film) and I am planning so see the screener for Hoshiogaoka Wonderland later this week.
Saturday, I’ve seen Neboke, Alone in Fukujima (well, at least half of it), Popura no aki and Decline of an assassin. Four movies in one day to finish my festival in a dash (I had to pack as many movies as possible since my employer refused to give me the Sunday off). It was quite tiring.
There was the same glitch that I’ve often seen this year during Neboke: the picture froze and came back without sound, so they had to change the screening copy (although I doubt it was a problem related to the copy; it was probably due to equipment issues). We started the movie with french subtitles and finished it with english subtitles! I also missed nearly half of Alone in Fukujima because of a scheduling conflict and the fact that Neboke finished later because of the glitch and its Q&A session. Also, my wife wanted to see an Italian movie in competition, but it had been rescheduled and she screened a swedish movie instead. Despite all those little annoyances, it was a good day. I am also glad that, despite their threats, there was no disturbances caused by disgruntled employees during the week-end. It’s good because that’s the moment of week (particularly in the evening) when the festival is the busiest.
Now that the festival is finished (at least for me), I’ll have more time to write and put my comments online, as well as edit the Q&A videos (I have already added the video for At Home Q&A both on my comment page and on Vimeo). But, first, I have to rest a little (and catch up on some of the chores at home). In the meantime, you can check my entry “Montreal World Film Festival 2015” for all the details on this year’s Japanese movies.
I’ve noticed another poster in the Quartier Latin’s hall announcing a sequel for the movie Belle and Sebastien due for February 2016 (in Quebec). It’s titled “L’aventure continue” (The adventure continues). [Google, Youtube, Wikipedia]
With such days so busy with work, duties and a full schedule of screenings, I am getting quite tired. Tomorrow will be my heaviest day with four screenings (and probably my last for this year). Hopefully I’ll be able to rest (and write) in the following days so I can share with you my comments on all those interesting movies.
Today was excellent. I’ve seen Dear Deer, Summer on the Frontline (which joins the short list of my favourites along with Blowing in the wind of Vietnam) and Gassoh, as well as attending the latter’s press conference.
Press conferences at the MWFF are always somewhat excruciating because every words must be translated both in French (because this is Quebec) and in English (because this is an international film festival after all). It makes a thirty-minute press conference feels very short and only a few questions can be asked by the press and the public to the movie crew. That’s rather annoying but it can’t be helped. I wish the press conference would be longer (since, unlike most big festival, they cannot afford multi-languages simultaneous translation—which would save lots of time).
I’ve filmed most Japanese directors’ introduction to their movies’ screening, with any Q&A sessions that I could attend, as well as today’s press conference. I’ll put them online as soon as I can do a quick edit on each of them in order to keep them as short as possible (which reminds me that I still have press conferences from previous years that I still need to share!).
For a second time there was technical issues during the screening. The picture froze, then fast-forwarded and then came back without sound for five or ten minutes. Then they “rewinded” and restarted where the problem had occured. Luckily, no other issues happened. The director, who was present to introduce his movie and for a Q&A afterward, apologized profusely (it was the japanese thing to do) even if it was not his fault.
Despite that small problem, I enjoyed this short day.
If you want to read some comments about the Japanese movies at the festival (in french) you can check the first part of the article by my esteemed colleague Claude R. Blouin.
It seems that more troubles might be brewing for the festival (as if it needed more) as some employees of the festival, experiencing delays with the well-earned payment of their salary, are threatening to strike from Friday if the situation is not resolved (Le Devoir). I can understand their plight but, on the other hand, I know many film buffs who would do their job for free just for a few tickets and a chance to meet with international moviemakers!
Since I had several hours in-between the two movies I was able to write my comments for all the movies I had seen the previous days. It still need some research and polishing, but I should be able to post them soon. For now I’m really too tired to do anything but sleep.
I wish I could write more extensive comments but unfortunately I am a little too busy. Seeing movie after movie doesn’t leave enough time to do in-depth analysis. And when you sit at night, after having viewed three movies, it difficult to write in details about each of them. That’s why I try to put down on paper my first impression as soon as I leave the theatre. It’s easy to do when there’s a couple of hours in-between movies, but more difficult when you have to rush from one place to another with just minutes before the beginning of the next show (harder still when there’s a Q&A after a screening).
Anyway, my purpose with this blog has always been to simply introduce a work (be it a manga, a book or a movie) with just enough information (and links) to interest the readers and incite them to look further.
Today, I’ve seen Kagura-me, Akai Tama and Blowing in the wind of Vietnam. All ranging from good to excellent. I’ll try to write and post my comments on those movies as soon as possible.
“A father, document.write(“”); a mother, an elder son, a daughter and a younger son. A family of five. To all appearances, a perfectly normal, happy family. However it turns out that none of them have a blood relationship. Each of them has a sad story and separate families of their own. Does being related by blood, make a family? Or if they live together, does it make them a family? When people learn to connect with others, when they are placed in a difficult situation, how do they react for a family? This is a film about people who were hurt by family, but saved by family. ”
The Moriyama family looks like any other ordinary family. However, none of them are related. The father is a thief. He started stealing to support his pregnant wife. She is hit by a car and lose the baby. He gets caught, goes to prison and his wife leaves him. Once out of prison, he continues with a criminal life. One day, during a burglary, he discovers a young boy chained in the bathroom of a house. He decides to save him. Together they settle in a home, acting like father and son. Later, the thief triggers an alarm and, as he might be caught, he is helped by a teenager who has run away from his home. He was verbally abused by his parents who found his indecisiveness and shyness not up to the standard of their rich (but parvenu) status. He joins the father and younger “son” in their home.
The mother was physically abused by her violent husband. One day she is considering killing herself by jumping in front of a train but notices a teenage girl who is about to do the same. Without thinking about her own situation anymore, she prevent the girl from jumping. The girl was sexually abused by her father. They both run away (it is more implied than said or shown) and settle in an apartment together as mother and daughter. One day, the mother meets the father in a pet shop and the father (it’s not shown how or why) invites them to join his little family.
They survive through a life of crime: the father doing burglary, the mother swindling men in mariage schemes, the older son doing forgery in a print shop and the young boy and girl simply going to school. Unfortunately, the mother tries to swindle a bigger swindler and she ends up kidnapped. The family rushes to gather the ransom, but, despite the father’s warning, it leads them to a violent outcome. The father goes to prison again to save his family. In the end, the family will pull through thanks to its strength. Despite not being related, they all had suffered abuse and could better understand and confort each other. Reconstituted family can work and even be stronger than blood ties.
There is a lot of frustration nowadays in Japan which apparently translate into an increase of domestic violence at home. This subject (and its salvation through reconstituted family) is interesting but the storytelling is often way too slow, and also contains gaps or credibility issues. Some scenes are simply not plausible, not because of the actors’ performance, which is quite excellent, but because the situation is being too convenient or at least not explained in a satisfactory manner. However, it is a beautiful story and a good enough movie to be well worth watching.
At home (??????): Japan, 2015, 110 min.; Dir.: Hiroshi Chono; Scr.: Teruo Abe (based on the novel by Takayoshi Honda); Music: Takatsugu Muramatsu; Phot.: Shinya Kimura; Ed.: Osamu Suzuki; Prod. Des.: Shin Nakayama; Cast: Yutaka Takenouchi (Dad/Thief), Yasuko Matsuyuki (Mom/Swindler), Kentaro Sakaguchi (Jun Moriyama), Yuina Kuroshima (Asuka Moriyama), Yuto Ikeda (Takashi Moriyama), Jun Kunimura, Itsuji Itao, Seiji Chihara.
Film screened at the Montreal World Film Festival on August 28th, 2015 (Cinema Quartier Latin 12, 12h00 – with an attendance of 90 people, filling 60% of the theatre) as part of the “Focus on World Cinema” segment. The director was present for a short Q&A at the end.
“If you are cold, tea will warm you; if you are too heated, it will cool you; If you are depressed, it will cheer you; If you are excited, it will calm you.” ― William Ewart Gladstone
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