10 Films that I done saw in 2018

Here be ten new* films that I had the privilege of watching these past twelve months.

Some are better than others, but this be my order of preference, like the way I prefer cat poo to dog poo...

*Megz Obvz disclaimer alert: again, due to, at times, well rubbish release dates in the UK and probably general slowness by me, some of these are like not proper 2018 films and that. Plus there's like better films I haven't seen...probably.

1. Shoplifters

Director: Kore-eda Hirokazu
Japan

Well obvious choice and that, but definitely the best film I saw that featured Lily Franky's buttocks. It's even got a story and stuff about an unconventional family of those shunned by society, complete with nice shots.

2. BlacKkKlansman

Director: Spike Lee
America

Clearly influenced by this year's Cannes festival, Lee sees a return to form with his story based on the life of a black undercover policeman infiltrating the KKK, with the help of his trustee Jewish side-kick. Laughs and that. Undoubted fictionalisations of course. But good film and stuff. 

3. The Third Murder

Director: Kore-eda Hirokazu
Japan

Proper hogging the limelight this year this boy, this change of style courtroom drama is far from his best, but that can still put it far ahead of many others. Questions like the nature of law and that and sort of is designed to make you think about things...I thought.

4. Four Springs

Director: Lu Qingyi
China

Man with camera films his family over a number of years during times of sadness, joy and playing with mobile phones. Got some proper pretty shots to look at and could be the start of a nice documentary career.

5. The Great Buddha+

Director: Hsin-yao Huang
Taiwan

Strong year for Taiwanese cinema this (from like the three I saw, anyway). Self-referential comedy about some oddballs going about their business of watching one's boss' dashcam footage for larks. 

6. Joy of Man's Desiring

Director: Masakazu Sugita
Japan

Like a bit old and that (2014), but got its UK premiere this year courtesy of the Japan Foundation Touring Film Programme. Children are left emotionally abandoned after their parents' death after an earthquake, leaving the old eyes in tears.

7. The Sower

Director: Yosuke Takeuchi
Japan

Post-triple disaster depression leaves one man the obvious scapegoat in the death of his niece. Many questions about society asked alongside some sunflowers. 

8. Three Billboards Outside Ebbing, Missouri

Director: Martin McDonagh
UK / America

Latest from the man who done there "In Bruges" and stuff. It's not as good as "In Bruges", but it one enough of the big awards for you to act as though it is. 

9. Tokyo Girls

Director: Kyoko Miyake
UK / Japan

BBC commissioned documentary about the men who stare at idols and the idols they stare at. Is it all a bit weird? Probably. Is it wrong that the BBC snipped it down when showing it on BBC Four? Yes, also. 

10. A Family Tour / I Have Nothing to Say

Director: Liang Ying
Taiwan / Hong Kong

Ying's short and then feature prequel tell the joys of a family reunion coach trip through Taiwan for a politically-driven director based in Hong Kong. One in black and white; the other in colour, this is a nice complimentary bumper pack of political fun.


That's that then...

Japan Foundation Touring Film Programme 2018 Part IV: The Joy of Man's Desiring

There seems to be an increasing need among filmmakers to document a factual event on screen, trying to find the balance between not coming "too soon", but within enough of a time frame to ensure that it hasn't left the general public's consciousness, and thus unmarketable.

Having lived through the Great Hanshin Earthquake of 1995 in Kobe; and obviously in reaction to the Tohoku Earthquake and resulting tsunami three years previous, Masakazu Sugita's 2014 "The Joy of Man's Desiring" focuses on the destruction of one family following an unspecified earthquake.

Her house destroyed, twelve year-old Haruna struggles through the rubble to find her family. But her parents are dead and we are quickly moved to their funeral. Her injured pre-school younger brother, Shota, does not yet know of his parents' fate as he recovers in hospital. Now without their parents, arguments start among relatives as to who shall take them in, resulting in their aunt and uncle inviting them to live with them.

Starting a new life, Haruna strives to fit-in at her new school, while Shota blissfully goes about his carefree days, before gradually starting to wonder as to the whereabouts of his parents. Causing difficulties in their new family home between their aunt, uncle and cousin, the siblings runaway; their survival seemingly more a burden for others than a blessing.

Tackling a sensitive subject matter such as this requires a certain amount of tact from the filmmaker. Sugita's tactic is to take a child's perspective on events: a position that could make things even harder. The irresistibly cute Shota creates nothing but kawaii feelings for the audience, but also acts as the perfect foil for the horribly tragic events that know no sympathy. His ignorance to his situation, only heighten the inevitable heartbreak to be felt at some point in a film such as this.

But Sugita avoids too much over-sentimentality. Initially, none of their relatives seem keen to take them in, and those that do feel the strain of their being there. Their cousin, Katsutoshi, soon resents his kin: Shota inheriting his clothes; and more painfully for Haruna, her aunt sees her as the daughter she always wanted - it just took the death of her parents for her to get it.  

With their emotionally-absent uncle, over-doting aunt and resentful cousin, the pair are made to feel a burden, soon finding rejection and treated as someone else's problem. No doubt a comment from Sugita as to some reactions to those whose lives were destroyed in the aforementioned natural disasters. 

The deception of her younger brother taking its toll on Haruna - Shota waiting each day by the port for his parents to arrive by boat - the ending sees the pair runaway seemingly to find "home". This creates an awkward moment for the audience, as a twelve year-old girl breaks down in tears, though there is no other way it could be. Things are then left ambiguous as to what is next for the siblings, on both a metaphorical and literal open road.

A debut feature for Sugita, there are some bumpy moments along the way, but overall the filmmaking is strong. Long takes of slow movement allow pauses for audience reflection and the at-times-harsh soundtrack accompanying shots of Haruna feel reminiscent of the much more bumpy "Himizu", but effectively demonstrate her inner turmoil of fake smiles on the surface, hide an eruption of tears.

And remember, if you live in one of these following cities: Belfast, Birmingham, Bristol, Chester, Colchester, Derby, Dundee, Edinburgh, Exeter, Inverness, Kendal, Leicester, Lewes, Manchester, Nottingham, Sheffield or Stirling, sort your life out! Or, go and watch some of the films offered by the Japan Foundation Touring Film Programme 2018.