Kokuhaku

If someone were to confess something to you, how would you react?

After success in the West with Kamikaze Girls and the brilliant Memories of Matsuko, Tetsuya Nakashima returns with his now Oscar nominated Kokuhaku. And an intriguing return it is too. To start, the film feels disjointed and confused, in a fashion typical of the director, with switches between a noisy classroom and a musical number. But quickly the film draws in the audience as the first confession is revealed.

School teacher, Yuko, starts proceedings by opening up to her class about her husband’s contraction of HIV, their subsequent split, and her child’s death; though the film really starts once she reveals that the killer of her daughter lies among her pupils. What follows in an intense narrative, charting how this revelation goes on to affect those involved, resulting in their own confessions and tales of woe.

Never one for conventional techniques and styles, director Nakashima often cuts to slow-motion shots during the main confessions, before quickly moving to a mini-music video-style sequence, as in Memories of Mastuko. These well-paced shots (in high definition) give an intensity to the stories being told, breathing life to the words as they are spoken. Kokuhaku becomes a truly psychological piece from here on in, being both disturbing in visual and narrative, delving into the minds of the characters in a way reminiscent of All about Lily Chou-Chou, painting a worrying picture of today’s world.

If someone did you wrong, how would you react? This is the real strength of Kokuhaku: Leaving the viewer unsure as to how to take what is put before them. Should one sympathise, empathise or simply despise those involved? Each capable of wrong doing, yet similarly victims themselves, those confessing put forward their defence for their actions that they know will hard others, with good performances all round from the cast. If the film fails, it’s in that as more confessions are revealed, the more outrageous they become, gradually detracting from the intense impact they have at the start.

An eye for an eye; vengeance is Mine; Kokuhaku is a film that will leave you unsure as to whether to laugh or cry...I must confess, I don’t know which

Back to the Future: Japanese Cinema Since the Mid-90s

Once again, the Japan Foundation puts on its annual programme and I get all excited in certain parts of my anatomy. Themed, as they always are, this year’s programme focuses on the resurgence of Japanese cinema from the mid-90s, looking at some lesser-known works by some of the biggest directors currently working in Japan.


Offering the chance to see some films that would normally not be released in the UK, I thought I’d make the conscious effort to see as many as possible this year, rather than the usual one or two I typically make it to.


Cure

A series of people are found dead, an ‘X’ carved into their chests, killed at the hands of perfectly normal and calm individuals whom freely admit their part in the crime. The investigating detective uncovers the connection to these murders: a former student, now suffering from amnesia that has a talent for disturbing those with whom he comes into contact with his series of questions about the life they lead.


Coming two years after the release of Se7en, it’s easy to draw comparisons between Kiyoshi Kurasawa’s protagonist and Kevin Spacey’s master plan, with a similar narrative throughout. But that’s not to say Cure is a simple rip-off; the amnesiac’s motivations much different, with no grand conclusion as in Se7en.


A major film in the lesser-known Kurosawa’s career, Cure has a tense and psychological feel throughout, exploring the life of the detective more than the man he chases. With the dirty and grimy look that I like in many Japanese films of the 90s, moving along nicely, planting seeds in the mind of the viewer...though maybe not murderous ones.


The Bird People of China

A few days before going to see this, I watched Dead or Alive; incorporating more into the opening six minutes than the entire archive of Hollyoaks episodes. Much like many of Takashi Miike’s films it’s insane, violent and covered in blood. So The Bird People of China is a surprising piece to come from one of the most known Japanese directors in the West.


A Japanese businessman is sent to rural China to investigate a jade discovery near a small village, followed by a yakuza, keen for the businessman’s company to pay their debts for their dodgy dealings. So far, so Miike. But on arrival in the village, the pair unearth more than jade, finding – in true cinema style – greater treasures that money can’t buy.


The Bird People of China is a good example of exactly what the Japan Foundation were trying to achieve: showing a more unusual work by a big name, that you would normally miss when looking through his oeuvre. Takashi Miike is shown as more than just a gore king, showing the ability to craft an interesting story of personal discovery. Not the best film from his extensive career, but The Bird People of China is certainly a good selection to include, giving the opportunity to see a film easily missed in the UK.


Josee, the Tiger and the Fish

Now here’s a rarity: what would be classified as a more mainstream Japanese film being shown in the UK. Focusing on the love life of a dashing, young student, Isshin Inudo’s work is a relatively standard piece, journeying through ups and downs and various life lessons along the way. But thankfully, the Japanese mainstream isn’t Hollywood, and so ‘She’s All That’ this ain’t.


Student and part-time mah-jong croupier, Tsuneo, is clearly the type that likes to have his way with the odd young lady or two. But on bumping – literally – into an old lady and her disabled granddaughter, Kumiko, he soon finds his life changed as gradually he falls for the moody, but intriguing girl, breaking many a heart along the way.


With a good sense of humour, likeable enough characters and a number of little cameos (YosiYosi Arakawa, woo hoo), Josee, the Tiger and the Fish is a film that doesn’t take itself too seriously, and should be enjoyed as such. The less-than-fairytale ending gives it a good edge, making it a little more rewarding than any old mainstream love affair.


Linda, Linda, Linda

Silly...juvenile...overambitious...but that’s enough about the Tory government. Linda, Linda, Linda is the tale of a group of high school girls looking to play a gig at their school festival and the obstacles that they have to overcome before getting there. To start, they need to find a vocalist after some broken bones and bitchiness force some reshuffling in the line-up. Secondly, the vocalist they do find is Korean and not too sharp on speaking Nihon-go, let alone singing in the language. Thirdly, there is a bit of a lack of talent all round, requiring practice, practice, practice. Left exhausted, the four girls nearly miss their performance, but in true Hollywood fashion make the gig and give the performance of a high school lifetime.


Hopelessly predictable, Linda, Linda, Linda isn’t exactly a complicated or life-changing story, but it doesn’t ever try to be. Focusing more on humour and the music, Nobuhiro Yamashita’s film is a light-hearted comedy about high school life, made by both Bae Doo Na‘s (though unfortunately not getting her baps out) performance as the hapless and often confused Korean, Son; and the catchy title track by The Blue Hearts. The slightly sentimental and predictable ending but don’t spoil the enjoyment too much, and you’ll happily find yourself looking-up Linda, Linda on YouTube.


Go

It’s fair to say the modern world is a diverse and varied place. Isao Yukisada uses various different techniques and styles throughout Go, a story about a Japanese-born North Korean, struggling to come to terms with his own identity. Giving up the authoritarian life of his North Korean school, switches to a Japanese school, finding just as many troubles in the modern, capitalist world.


While not always engaging, the changing of styles and momentum throughout the film keep the viewer’s attention span from ever waning, mixing violence, comedy, love and drama. Yosuke Kubozuka, with his ever-changing haircuts, gives a good performance in the lead role as a man struggling to find his place in this crazy, modern world.


Sawako Decides

When the opening scene is a shot of a woman getting colonic irrigation, one can only hope that the next 112 minutes aren’t just having shit pumped in your general direction. While there is some spreading of human sewage, to say that Sawako Decides is all shit would be harsh.


Charting the distinctly average life of indecisive and alcoholic Sawako as she quits her Tokyo life to take over her sick father’s business, this is a typical Japanese comedy: with unusual characters, each with their own quirks, and situations that leave the viewer – as well as the cast – dumbfounded. Fitting into the same mould of recent works such as Turtles are Surprisingly Fast Swimmers, Fine, Totally Fine and Instant Swamp, the film is rarely serious, breaking up any danger of sombre moments with instant stupidity.


A nice way to end the festival with idiotic fun, relatively new director Yuya Ishii represents the future of Japanese cinema and a continuation of Japan’s recent wave of unique comedies.


Six of the seven film s seen, I have to say they were all pretty good and if you’re unfortunate enough to live in Belfast, Edinburgh, Bristol, Sheffield or Nottingham, maybe you should check it out.


The one film I didn’t get round to seeing was One Million Yen Girl, as I realised that this equates to little more than just over five grand...

View (De La Soul)

Came into my head today and noticed that no one had put it up on YouTube, so I decided to.

Photo from Hampstead Heath...

Every 14 days...(2)

Graffiti Japan (Remo Camerota)

Being that I love hip hop and I’m a pretentious twat that loves all things Japanese, two words that I clearly love being placed together to form a book title are ‘Graffiti’ and ‘Japan’. When last up in Newcastle and at the Baltic, I started flicking through various graffiti and ‘street art’ books while waiting for others to purchase their Christmas presents. Not buying it then, I decided to purchase while bored one day in January from the Tate Modern – I am a twat, as I previously stated.

A lot like many of Stewart Lee’s favourite books, this does not contain too many words, but a number of pictures of men in some hats. So, this isn’t exactly a difficult read, but was something that I picked up and flicked through now and again while continuing to read books that have printed words in them. In many ways, it’s a great toilet book.

Confused, and I’m sure we all are, as to why nobody had yet put together a book on Nihon no graffiti, Australian resident and graffiti man Remo started contacting Japanese writers with the look to finally producing a book on said topic. Starting off with Hiroshima-based SUIKO, Remo tours Japan, showcasing the works of the writers and taggers that he meets along the way.

While containing some very good works from, I’m sure, some of Japan’s biggest names, I felt that the book is not worthy of its title ‘Graffiti Japan’. Speaking to many artists that work together, it feels that the opinions and works of only a select group are being shown, and the locations are only those of the Tokyo/Yokohama region, Osaka and Hiroshima. Hiroshima seems to get a greater focus, being that it is the residence of SUIKO, the first writer to respond to Remo’s e-mails.

The nature of the exploration is not exactly in depth, with questions quite generic, with little probing around reasons for writers doing what they do and the thought processes behind their work. The text to accompany the photos, therefore, feels like some unnecessary add-on to try and give the book some credibility; when this could have been attained by a deeper exploration into the cultural context of graffiti in Japan, or simply no text at all.

But this is not hugely important. What is important is seeing some of the graffiti hot spots in Japan and knowing where to go to look for some good old fashioned spray can fun. ‘Graffiti Japan’ delivers on this front, if failing to scratch beneath the surface.

Days to read: 13

Days per book: 12.75

Sanshiro (Natsume Soseki)

Bought for me as a Christmas present, I have to admit that I was unfamiliar with the works of Natsume Soseki. From this edition, introduced by both Murakami Haruki and Jay Rubin, it’s clear that Natsume is an important name in 20^th Japanese literature. Painting a portrait of a troubled writer, the introductions put Sanshiro into context, showing how elements reflect Natsume’s own life.

Focusing in on Sanshiro, a 23 year-old travelling from a quiet, rural town to the big city as he enters University in Tokyo, the novel represents a coming of age story, as he deals with fast-paced life, confusing city folk and the dangerous world of city women. Naive to the ways of the city, Sanshiro often ends up in situations that could have been easily avoided, often to the amusement of those around him.

And this is indeed Sanshiro’s charm. Reflecting that Natsume was a writer he only began enjoying once entering adulthood, Murakami sees many parallels in his and Sanshiro’s life, experiencing similar thoughts and feelings on entering University. This is a book best read once graduation has passed and the real world entered, looking back at all the stupid things your younger self once did. One can but smile...

Days to read: 15

Days per book: 11.8

The Thorn in the Heart

Switching, as he does, between music videos, documentaries and Hollywood pictures, Michel Gondry chose to focus on the life of his aunt Suzette for his latest documentary. Using his cousin’s old Super 8 film footage, interviews, animation and the odd outtake that should have remained on the editor’s floor, the story of Suzette’s life as a teacher, moving from school to school across the 60s, 70s and 80s is told.

Now, this is all very good, but why would anyone outside of the Gondry wider family have an interest in this story? This is where the faults creep in. The people involved in many of the stories are rarely introduced, leading the viewer to try and guess as to what relation each has to Gondry’s aunt. This leads for quite a fractured and non-linear story, where the timeline has to be pieced together.

But while the logistics are a little challenging, the more emotional side of the film’s main focus, his cousin’s relationship with his mother, Suzette, provide a more rewarding challenge. Probing into sensitive issues around the relationship of the pair, Gondry gives an insight unconventional family life and the issues that often remained untouched. It is perhaps Gondry’s close relationship that allows him to delve into areas that an outside director would be unable to, though this closeness can also serve to alienate the viewer from those involved as the film becomes more and more personal.

Using standard Gondry techniques, employing toy trains, animation and an unnecessary attempt at a music video, the documentary is put together with a light-hearted approach to some sensitive subjects. And indeed, The Thorn in the Heart is a nice, little piece into the director’s family life. How important a documentary such as this is for a cinematic release is entirely up to you.

Good Hair

Often, I will ridicule girls I know about their natural hair showing at the roots of their long, peroxide locks. But, as Chris Rock explores in ‘Good Hair’, it seems the mocking of a white woman’s vanity in the UK pales in comparison to the hair situation of Afro-American women.

               

‘Good Hair’ has grown to mean straight hair, and so chemical ‘relaxants’ and weaves have grown into a multibillion dollar industry in the US. Women, and some men, seem more than willing to put dangerous chemicals on their person, spending thousands of dollars; all in the name of vanity. And it is this financial aspect that is a large part of the focus for Rock.

Concentrating on how few of the companies supplying black hair products are black-owned, a sense of some modern day exploitation by white and Asian-owned businesses is created.

But sadly, this is not the real tragedy present. While touched upon, ‘Good Hair’ fails to fully explore as to why women go to such lengths to straighten their hair, rather than remain natural. Those spoken to are largely pro ‘good’ hair, and so provide a mainly one-sided argument, avoiding any politics they may arise.

From ‘Good Hair’, you would be forgiven for assuming that all women are driven by vanity, most doing what they do to be ‘normal’ rather than different. This is exemplified by Nia Long, a woman proudly discussing her weave, stating that ‘you have to work with what you’ve got.’ Before Rock interjects ‘or what you can weave in,’ showing the level of contradiction shown by those discussing the topic.

The lack of a counter argument here disappoints, but Rock is a comedian, not a social scientist, and so it is understandable that context and questions of identity are left out in exchange for entertainment the documentarian’s natural wit and charm.

While not answering any of society’s questions, ‘Good Hair’ certainly entertains and raises some interesting discussions, and it doesn’t require any chemical substances or someone else’s extensions to do so.

Politic 11

Trouble in the Water - DJ Honda and De La Soul
Organ Donor (Extended Overhaul) - DJ Shadow
What Does Your Soul Look Like (Part 3) - DJ Shadow
Six Days (Remix) - DJ Shadow and Mos Def
Why U Runnin - Edan
Migraine - Edan
Prisoners of War - Organized Konfusion
Know the Ledge (Juice) - Eric B & Rakim
She's Crafty - Beastie Boys
Cosmic Assassins - DJ Q-Bert
Train Buffer - Aesop Rock
Fucked-Up Pendulum (Remix) - DJ Krush
Freestyle 2 - DJ Krush
Kemuri (Untouchable Remix) - DJ Krush
Drum - DJ Krush
Jikan no Hashi 2 - DJ Krush
Mu Getsu - DJ Krush and Toshinoris Kondo
Nike Music Show - Hifana
Dduck Chase Double Up (Remix) - DJ Krush