Thursday 10 January 2019

One Cut of the Dead (2017)

Perhaps for some time now, cinema has been lacking in original ideas for stories, meaning that style is becoming more important. CGI, films shot entirely on green screen and the failed attempt at 3D have seen special effects used as a way of overcoming this. But as hipsters love independent movies, increasingly there seems to be a move towards special effort, as opposed to effects.


While not an overall excellent film, 2017's "Ice Cream and the Sound of Raindrops" was shot in one sixty-plus minute take, including various locations and musical interludes along the way. And the "Inside No. 9" team revisited the idea of filming a live episode last year. Relative unknown director Shinichiro Ueda's "One Cut of the Dead" (or more appropriately the Japanese title: "Kamera o tomeru na!" / "Don't Stop the Camera") - a film within a film within a film - combines this use of a single take with the perils of trying to shoot scripted material live.

In an abandoned army facility, a girl is attacked by her zombie boyfriend. Except that she isn't. Chinatsu (Yuzuki Akiyama) is a low-rent actress starring in a zombie film directed by the erratic Higurashi (Takayuki Hamatsu). Dismayed at her forty-second take failure, they break from filming. But as they wait around, the small crew are attacked by zombies - Higurashi knowing that the location has a "history" of army experiments.


What follows is a one-shot chase as the survivors try to escape their newly dead attackers, with awkward dialogue, strange behaviour, blood splattering and breaking the fourth wall. The sole survivor, Chinatsu is left standing on the roof of the facility, staring up at the slowly and awkwardly rising camera as the end credits then scroll up the screen.

But we haven't got there yet.

It is after this thirty-plus minute single take that "One Cut of the Dead" actually begins. A month earlier, Higurashi is approached by producers from the "Zombie Channel" to film a single-take zombie film to be broadcast live in the afternoon - his "cheap, but average" style seemingly what they're looking for. Something of a hack director, he is initially reluctant, but is too weak to say "no." As such, he takes on the role and is introduced to his cast and crew: a less than inspiring bunch.

After a troubled preparation, the day of the shoot comes, but as they prepare for their risky move, everything that can go wrong goes wrong. As such, Higurashi and his crew are left to improvise and get by as best they can, making sure to follow the mantra: "kameru o tomeru na!"


Itself a film made on a very small budget, I'd seen a lot about the record-breaking profit levels that "One Cut of the Dead" had already made and the strong social media marketing efforts by the cast and crew. As such, I chose to read little about the film itself before seeing it, trying to remove all "Blair Witch" comparisons and expectations.

Not just a film within a film within a film, this is essentially the film, making-of and bloopers all-in-one. To start the "one cut" is a breath-taking ride of hilarity; seemingly baffling acting, behaviour and dialogue; blood splattering; gore; talking directly to the camera; various mistakes; and what must be a very tired cameraman. As the initial end credits roll, we're left thinking "o-kay."

The film's second part offers explanation as to the above, in what is a witty, well-crafted script to create all of the mistakes that appear in the live broadcast we're thrown into. The stress and pressure the crew are put under shows, with none worse affected than Higurashi and his wife, Nao (Harumi Shuhama), drafted into the production late on. Both go rogue, not so much acting, as letting their frustrations out - the director determined to make the shoot work for the sake of his art.


The television producers, while setting the difficult task, are less concerned by the art, embracing the chaos. Indeed, much of the middle section of "One Cut of the Dead" feels like a Japanese TV drama; the style of shooting and music feeling very much part of a Japanese small screen. But this is a film made for the big screen and a big audience. The laughter track provided by a big crowd adds to the undoubted fun that this is. Ueda shows that a lot of ideas that come out of a live shoot will be improvised out of necessity, and has fun in doing so. The laughs are big, the timing spot-on and the acting suitably awkward.


But while showing improvisation is necessary, Ueda's film is one that has been carefully thought-out and choreographed, like a well rehearsed stage production. The cast and crew have obviously been challenged in making this, and the crew's efforts are shown as the actual end credits roll in true Jackie Chan fashion: the "making-of" cameraman following the actual camera and sound men as they take a well-earned drinks break as the camera continues to roll.

Tuesday 8 January 2019

Mirai

Kon Ichikawa's 1962 film "Watashi wa nisai" was translated to "Being Two Isn't Easy" for English-speaking audiences. Without seeing it, you get a fair idea of what the film is about from the title alone. Mamoru Hosoda's "Mirai" (or "future") isn't quite such an obvious title, though naming it "Being Four and Becoming a Big Brother Isn't Easy" wouldn't quite give the game away either.


A semi-autobiographical work, Mamoru Hosoda's film tells of learning patience and perspective in a film that is both close to reality and fantastical. These switches can perhaps annoy, but anyone living with a toddler will be able to sympathise to some extent, but your overall reaction to "Mirai" might be dependent on your life situation, and indeed, like a two year-old, your current mood.

Four year-old Kun's parents have just had a second baby: daughter Mirai. This new addition angers Kun, no longer the sweet little one of the household, able to walk and talk, he is not given the attention he is used to. Fighting his parents, he also tries to fight his little sister.

Frequently left frustrated, whenever passing the oak tree in his architect father's quirkily-designed house, in true "Christmas Carol" tradition, he meets a spirit that gives him a life lesson. Their pet dog as a prince, felt abandoned since Kun was born; a teenage Mirai letting him know her feelings as to his behaviour towards her; his mother at his age - not the strict disciplinarian she has become; and his great grandfather who teaches him to be brave.

Switching between the household base and the various scenarios in time, Kun is not quick to learn from his family members' teachings. But, as for any toddler, it takes time and reinforcement for him to finally realise Mirai as his little sister and see himself as the big brother he is needed to be.


As the film's opening shows, this is a film of exquisite detail and has been carefully considered. The detail in the animation is rich, giving "Mirai" an almost 3D feel. The character movements and mannerisms are well thought-out and realistic and recall the opening moments of a Studio Ghibli film.

To some extent, the reality of the scenario also has this same level of due care and attention, reflecting Hosoda's own life experience as a father to an older son and younger daughter. One cannot help but relate to the mother and father's predicament: the father taking on the parenting while working from home while the mother goes back to work. This is designed so that each character can see the world from the perspective of the others. The father is now a "better dad" compared to his involvement in raising Kun, being at home all day and having to take on more responsibility. Kun is not the only one who has to see things from the viewpoint of another. And a few parents in the audience might agree.


However, as the parents do not get as much airtime as Kun, their scenario isn't fully developed enough to make this a film aimed at adults struggling to raise young children. While one can relate to the struggles, the realism is more in Kun's mannerisms and behaviour, rather than the film's story and conclusions. The parents' dialogue can perhaps be a little too open, direct and articulate to accurately reflect the struggle. And for some, the revelations may seem obvious for the amount of  struggle to get there, but so much in life is, until taking a step back.

Like a toddler's mood and behaviour, the film switches continuously. The changes to the future and past selves can make this more a collection of life lessons for Kun, rather than a complete whole. But each day comes with its own challenges and having to start again from scratch. As such, "Mirai" doesn't drag on or bore.


The more fantastical elements might be a little difficult for some to take, myself included (and why I do not watch as much anime as I could - in fact, this is a film I might normally avoid). These can somewhat detract from the realism approach in the present day scenario, though his meeting with his younger mother leads to some of the strongest visual elements of the film.

The ending, however, feels a little too far into the fantastical. With the film's strengths more in the subtle nuances of Kun's behaviour, the ending feels a bit more blatant in its delivery of fear factor and can feel a little disappointing, and more in-line with more young adult-aimed anime. Having a hint of "Spirited Away" in its conclusion, the ending could have perhaps been more refined.


But with both good and bad elements, "Mirai" is very much like a child. Parents will be able to relate to Kun's difficult behaviour and frustration, and this may give it enough to overlook the weaker points, as they would their own children. Without this standpoint however, "Mirai" might not have the same effect and feel like a lot of bumpy emotion rather avoided.

Essentially, being four and becoming a big brother isn't easy, and watching it isn't either, and your response might be down to your level of patience and perspective.

Friday 4 January 2019

2018 in 8 noise sounds

I mean 97.6% (scientific fact) of all music is pretty dog-tod these days, but you do hear some now and then that make you think "'t's alright."

Here are some of those noises listed below. I also learnt this year that music is best enjoyed via your ears...



EVISBEATS
ムスヒ
It's got  on it and features 2018's bestest song with the nicely named Phoka.





Homeboy Sandman and Edan - Humble Pi
Telephone the Queen, Edan is back! And he's brought his mate Homeboy Sandman with him. They like dissing the internet and stuff, like ironically or something...




Toshiki Hayashi (%C) and 鈴木真海子 - 金木犀
Toshiki Hayashi (%C) (whataname) hooks up with 鈴木真海子 and says "oh sweet siren with your enchanting voice...grab us a beer, will ya?!"



鎮座DOPENESS and SABO - チルミーチル
What's that woman up to?



Cut Chemist, Edan and Mr Lif - Metal Storm
Are Edan's eyes and hair real?!




Anchorsong - Cohesion

More rhythmic spinning from the TruThoughts man, with some pretty Indian-inspired artwork for confirming that 2018 is orange.




EVISBEATS - Holiday

Ever heard tracks by EVISBEATS released on 7" and wonder why they don't make it on to his albums?LIke that one where the bloke raps and the woman prances about a bit? Well, "Holiday" answers some of that. And some new ishhh for your ears.




DJ Krush - Cosmic Yard
Not that former yakuza's best, but nice and steady for the ears.




Will there be more noises this next year? I'm yet to hear...

Tuesday 1 January 2019

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...