(Feel The Wind) Catch A Fan Favourite - Richard

The entries just keep getting better here on the JFF blog, with a great piece from Richard Gray today on "Feel the Wind". The film has been winning awards for both the first time director and the great story, and is being touted as the Japanese "Chariots of Fire". It is a fun piece, and for that reason it will screen in 5 regions around Australia, second only to "About Her Brother" which featured across all 6 territories. Read why below!

"The Hakone Ekiden is one of the biggest university athletic events in Japan. Run every year on January 2 and 3, the two-day relay marathon follows a course of almost 220 kilometres between Tokyo and Hakone and is a matter of massive prestige for the universities involved. Seasoned writer Sumio Omori, who became the youngest winner of the Kuniko Mukoda Award for screenwriting, uses this difficult course to make his directorial debut with Feel the Wind, a fictionalised account of a struggling team to overcome great odds. Winner of Best New Director at the 19th Japan Movie Critic Awards and the 31st Yokohama Film Festival, Feel the Wind is the kind of film engineered to make audiences feel good.

University student Haiji (Keisuke Koide, from the blockbuster "Rookies" and "Cyborg She") is a former runner whose career has slid due to injury. He had all but given up on the dream of running the Hakone Ekiden until he meets elite runner Kakeru (Kento Hayashi), who has left running due to a fight with his coach. Gathering eight other housemates, who have never run before, they form the necessary team of 10 athletes to fulfil Haiji’s dream of qualifying for the ekiden (marathon relay). Most of them are not up to the challenge, but the rag-tag team of roommates are determined to help Haiji fulfil his seemingly impossible dream.

Sports movies are always popular with crowds, and there is something about marathon running that seems to particularly appeal to the masochist is all of us. From at least "Chariots of Fire" onwards, which was admittedly about sprinting taken to balletic heights, track athletics have been taken as a convenient outlet for personal pain and anguish. Everybody on the team has something to work through, from Haiji’s injury to the manga-obsessed Prince (Yuichi Nakamura) and his lack of self-worth, and by the end of Feel the Wind, we get the impression that their accomplishments in the race have also worked through some of those “issues” as well. As the distributor Shochiku succinctly puts its “Through the training and the experience, each member finds their inner strength and the joy of feeling the wind”. Wind joy, that’s what it’s all about.

Feel the Wind misses a few steps during the middle act, which drags on a little too long, and by the end of the marathon itself audiences may feel like they have run the entire distance. Perhaps this is a side-effect of the bookish origins, as the film is an adaptation of Shion Miura’s novel that centres on the race. One would imagine we get much more personal insight into the personal pain of the competitors in the novel, although this highly emotional film borders on the melodramatic at times. However, Feel the Wind has that "Rocky" spirit, without Sylvester Stallone’s endless monologues to nobody in particular.

It’s appeal is indicated by Feel the Wind‘s Top 10 rankings in Japanese Film of 2009 lists in both the Kinema Junpo  and Yokohama Film Festival. Indeed, the latter puts it in such fine company as the brilliant "Love Exposure", Japanese Film Festival stable-mates "Dear Doctor" and "Villon's Wife", and one of my personal favourite films of the year, "Summer Wars". On the Brisbane leg of the 14th Japanese Film Festival, this was voted an audience favourite. This will no doubt connect with audiences, but just be prepared to watch a lot of running." by Richard Gray, DVD Bits.

Feel the Wind screens on Thursday, and is one of the few films in the festival that the whole family can come along to. It is rated PG so feel free to bring the little ones along for a trip to Japan, well at least for a couple of hours!

See you at the festival!

(About Her Brother) Family Matters - Karen

To celebrate opening night of the festival we are covering the wonderful performances of Japanese starlet, Yu Aoi. She can be seen up on the big screen for the first 2 nights of the festival, in "About Her Brother" and "Flowers" respectively. You can catch Joseph's review of "Flowers" here, or read on below to see first time contributor Karen Michelmore's piece on "About Her Brother".

I don’t know anyone who has a normal family. 

Usually there is one crazy cousin somewhere, or sibling who is eccentrically and outlandishly always themselves. 

There’s also usually a wide array of personality types, and issues bubbling away, which can combine on occasion into a powder keg of emotion. 

'About Her Brother' is no different. It’s pretty real in this way. 

It’s the story of a small family in a quiet part of Tokyo.

Three generations of women in one house, and the result of this situation.

"Gingko is a pharmacist and a widow. Her daughter Koharu (Yu Aoi) – and the film’s sometimes narrator - marries and divorces a pretty ordinary doctor. And her mother complains constantly about her own loneliness and lack of companionship. But no one’s listening. But the film isn’t a story about the relationships between these women. They are not really explored in any meaningful way. As the title suggests, it’s all about Gingko (Sayuri Yoshinaga - Kabei Our Mother - 12th JFF) and her alcoholic brother, Tetsuro.

Tetsuro is the kind of person who bumbles through life, blissfully unaware of the mayhem he’s created. Or seemingly so. The 126-minute film – directed by veteran Yoji Yamada – is dotted with comedy from Tetsuro, played by Tsurube Shofukutei (also seen in Dear Doctor - 14th JFF). During one particularly memorable wedding scene, you’ll probably laugh out loud (well I did), as he gets drunk and wreaks a trail of destruction at a rather staid event, much to the horror of guests. He challenges the fuddy-duddy nature of some Tokyo traditions, reminding us in his own unconventional way that it is supposed to be a celebration after all.

His initial scenes reminded me of the old black and white Jerry Lewis movies and are a pleasant injection of humor and sparkle into a film that has a poignant underlying message, and takes quite a depressing turn when Tetsuro becomes ill. Behind Tetsuro’s mirth is a subtle but sad story of addiction and isolation. This film will make you think about the family dynamics of guilt, obligation and frustration. The message is pretty simple. Sometimes family members infuriate us. Most of the time we love them unconditionally anyway." by Karen Michelmore

Thanks to Karen for that piece. While the main story arc of the film is the relationship between Gingko and 'Her Brother', the plot of the film revolves around Aoi's Koharu, and her perofrmance can not be discounted. She has a strong bond with Tetsuro (he named her afterall) and this is tried and tested throughout. Aoi is able to play the innocent girl being married off to a new family quite profoundly, something she does in both "About Her Brother" and "Flowers". The 2 roles differ slightly in their outcome, but both portray the trials and tribulations of a young woman in Japanese society, and the life choices that are presented to them.

Having won best supporting actress for three films in a row (Honey and Clover, Hula Girls and Rainbow Song) and with these two emerging roles, Yu Aoi is one to watch for the future. Don't miss her at the 14th Japanese Film Festival in Sydney tonight!

See you at the festival!

(Flowers) The Modern Japanese Woman - Joseph

The 14th Japanese Film Festival opens tonight in Sydney!! The highly anticipated event will be the biggest ever JFF and is further proof that Japanese cinema is loved worldwide. We invite you to be a part of the fun and festivities, and hope you come along this week for some cultural cocktails. Today we cover Yu Aoi's performances in "About Her Brother" (read here) and "Flowers" (submitted by festival volunteer Joseph below), which feature on Monday and Tuesday of the festival. A wonderful young actress that is sure to have a bright future, and is not to be missed on the big screen!

"The 14th Japanese Film Festival is fortunate to have a number of movies which were released in Japan only in 2010. One of these is Norihiro Koizumi’s magnificent film, "Flowers", a moving saga exploring the lives of six women living in very different times.

Koizumi-san, who previously directed the lovely and gently meditative "Midnight Sun" (2006) (starring talented singer-songwriter, Yui), well establishes his directorial chops with this latest offering. Starring an ensemble cast of Japan’s most sought-after leading ladies, "Flowers" manages to be both a broad-brush commentary on the advancements in Japanese society and a touching slice of life drama peering into the personal traumas and triumphs of 3 generations of women in a single family.


But the single biggest thing that makes "Flowers" so remarkable is the authenticity of its feel from a cinematic viewpoint. It is an experience tailored to the psychology of moviegoers as a class. As such, it functions as a tribute not only to the growth of Japan as a society, but to the development of movie-making in general. Ingrained somewhere in our collective psyche is the patently absurd but difficult to shake mental habit of seeing the early twentieth century in black and white or sepia tones. We know that it all played out in colour, but our minds switch back to monochrome when we try to picture it; a holdover, it would seem, of all the footage we have seen from an era without colour film. Maybe it’s just me that does this, but I don’t think I am alone.

Koizumi-san, at least, shares his vision of the 1930s in gorgeous antiquated tones as he beautifully captures Yu Aoi (About Her Brother - 14th JFF, Hula Girls - 12th JFF), one of Japan’s most talented and bankable actresses, in crisp black and white. Aoi-san comes across delightfully in vintage; the part well suits her subtle and subdued acting style. She flawlessly looks the part of the Yamato Nadeshiko, resplendent in various kimonos and decked out in traditional bridal regalia. One of the most memorable scenes in the film sees Aoi-san running through a sakura (cherry tree) grove in full bloom with mountains visible in the distance, a wide shot reminiscent of some old time silver screen epic. The scenes set in the 1930s are backed by a lush orchestral score swirling in a manner not heard since Hollywood’s days of yore. The director has brilliantly recaptured the visual style and musical motifs of classic vintage film.

"Flowers" is consistent in its elaborate recreations of the look and feel of film in the various periods in which its story is set. The scenes played out in the 1960s were shot in a soft, flushed palette similar to the style of the early days of colour cinematography and television. The scenes have an aged, early Brady Bunch appearance to them, complete with an optimistic, clarinet-heavy soundtrack and quaint sit-com establishing shots. The focus of the story in the 1960s setting is a young woman named Midori (Rena Tanaka), who is striving to make headway as a professional in what was still a man’s world. She equivocates when it comes to entering a relationship because of the automatic repercussions this would have on her career.

Rena Tanaka (The Cherry Tree in the Hills - 13th JFF, Waiting in the Dark), one of the most beautiful actresses in Japan today, so utterly fits in to the era in her scenes that it is not hard to imagine that, in a different time, she could have been a screen icon alongside the likes of Grace Kelly or Audrey Hepburn – so perfectly does her coiffed hair, doe-eyes and air of classic beauty fit with the cinematic style employed for her scenes.

The movie also contains excellent performances by Yukie Nakama, Kyoka Suzuki, Yuko Takeuchi and Ryoko Hirosue (featured in the JFF Newsletter Issue #3), the latter of whom also stars in another film featured in this year’s JFF, Zero Focus. "Flowers" is very impressive. It will probably touch some raw nerves as it confronts sensitive issues such as the death of a spouse or the delicate choice between risking a mother’s life and losing that of an unborn child. All of these topics are handled in a realistic and sobering manner, while still retaining the film’s uplifting tone. There were many amazing elements brought together into this film. "Flowers" is so sweeping in its scope that something, either in its narrative or the novelty of its vision, will speak to almost anyone who watches it.

Norihiro Koizumi has given us a film that is ambitious and majestic. It is a movie that is as much about how film has evolved over time as it is about the strong and resilient female characters at its core. As an exploration of the themes of accepting growth, assuming responsibility and dealing with the sometimes fearful rites of passage that maturation thrusts upon us, "Flowers" is an often taxing, but truly incredible, story of emotional renewal." by Joseph Sampson

Thanks to Joseph for that entry. "Flowers" is a remarkable piece of filmmaking that is just as gorgeous as the actresses featured in it. Remember to live tweet or facebook your experience at the festival. You can tweet @japanfilmfest or #JFF14, or post your views on our facebook fan page.

See you at the festival....tonight!!!

(Zero Focus) Drama Of My Life - Samson

Wicked Wednesday continues with Samson's look at "Zero Focus", which stars a wealth of talented Japanese actresses. Check out his thoughts on "Dear Doctor" also on the JFF blog. Remember to stay tuned to the blog over the next week as we will have live reports from the festival and even a few giveaways.

"If I were to make a film about my life right now, Zero Focus would be a most appropriate title. But no, the Japanese film Zero Focus is not about some dude who is overworked, underpaid, struggling to juggle multiple commitments, while trying to watch as many good films as possible, all resulting in chronic sleep deprivation and therefore a pathologically shortened attention span. Instead, it is a suspense mystery drama.

The main character is Teiko (Ryoko Hirosue, recently featured in the JFF Newsletter), a newly married beautiful young woman who has found happiness in her life. This turns out to be short-lived, however, as her husband fails to return after leaving home for work in another city. So Teiko goes on a journey to find her husband, and in doing so learns a lot that she did not know about him...

"Zero Focus" wasn’t really what I expected. Having read the synopsis and seen the keywords ‘suspense’ and ‘mystery’, I was expecting a movie that has an intricate web of plot twists culminating in a climax with a final revelation that would just blow me away. "Zero Focus" is not like that. Very early on in the film, viewers get to find out what happens to Teiko’s disappeared husband and not before long, it becomes obvious who is responsible for his disappearance. So if you watch this film expecting an exciting whodunit thriller, you may be disappointed.

As a drama, however, this film is certainly a success, thanks to the great performances by all three of the lead actresses - Ryoko Hirosue, Miki Nakatani (Memories of Matsuko – 12th JFF) and Tae Kimura (All Around Us – 13th JFF). Lead actress Ryoko Hirosue is certainly on a hot streak at the moment. Following the success of the Oscar-winning Departures, she has starred in a number of major productions. Just look at how many films showing at this year’s Japanese Film Festival have her starring in them, and you will get an idea how hot she is right now. In "Zero Focus", she plays Teiko with an innocence and naivety that are truly believable. The other two main actresses also give solid performances. Miki Nakatani is most credible in her performance as the wife of a tycoon, while Tae Kimura has a smaller role as a receptionist but her acting here is no less impressive.

"Zero Focus" is a movie worth seeing even just for the acting alone. Viewers who like fine dramas will enjoy it, while fans of Ryoko Hirosue should put this on their must-see list, as the actress plays a much bigger role here than say in Goemon (13th JFF) or even Departures (12th JFF). And if unlike me, you have previously read the original novel by Seicho Matsumoto, on which this picture is based, I will be most interested in hearing what you think about the film!" - by Samson Kwok

Thanks to Samson for his great entries on the blog. If you are attending the festival next week, feel free to write up about it, from what you expect from the films to what you thought of the experience. Send it to us here at the blog and you may just get featured! All entries should be sent to assistantcoordinator@jpf.org.au.

See you at the festival.