Special of the day!

Grand Maison Tokyo was a “grate” drama where the chefs “whipped” up “un-brie-lievable” dishes all while showing that cooking can be transformative. Broken friendships were “heel-ed” and new ones were created out of the “ingredients” of respect, forgiveness, and the mutual love of “egg-cellent” food. Oh, yeah, there will be puns, I’m on a “roll!”

Obana Natsuki has been reviled as a terrorist for three years ever since his crew in Paris catered a dinner and a diplomat was accidentally given food contaminated with nuts and collapsed. Everyone involved took a hit, the restaurant and chefs, and the politician and magazine writer who extolled and recommended the restaurant. In the world of high-end food making a mistake was nearly a death sentence and some of those involved were looking for revenge.

Hayami Rinko is a fifty-year old chef who desperately wants to work at a Michelin starred restaurant. As luck would have it she and Obana bump into each other in Paris. The persona non grata talks Rinko into a partnership and financially backing a restaurant in Japan assuring her that he can not only gain her a Michelin star, but three. Obana contacts his former colleagues who are also working in Japan with measured success. Many people never want Obana to step foot in front of a stove again.

Obana’s people skills weren’t “berry” “gouda”, even at that he went about solving people’s problems like a “souper” cranky Mary Poppins. Instead of an umbrella, he carried a set of knives. Many of the characters struggled “pudding” up with him until they discovered his heart of gold. At the Grand Maison food and “thyme” mended the deep wounds of the past as those hurt or angered by the scandal found “peas.” While cooking for the chefs was a passion with the “beet” of a religious fervor, they found that they “cod” “yolk” around and find their smiles again. Love for two of the chefs was here today and gone “tomato” as the women in their lives did not like being put on the “back burner.”

It wouldn’t be a food drama without some cooking drama and competitions! Obana and Rinka, along with their team had to discover what ingredients made the perfect “matcha” and plate it in the most “a-peeling” manner. The competing owner of Gaku wasn’t afraid to play dirty and also had deeper pockets for expensive ingredients. Eto was just the “wurst.” He and another invested individual planted “im-pasta-rs” with Team GMT putting the Grand Maison in a “jam” at times. Lucky for Team GMT they had a “latte” “loaf” for creating perfect dishes and ability to forgive “pour" decision-making. They weren’t afraid to “whisk” everything in the search for the most delicious food they could create. When the chefs became discouraged there was always someone to give them a “Riesling” to believe.

Even better than the gorgeous meals the chefs created was their “stirring” loyalty to each other and their “perfect blend” of intriguing characters. Any way you “slice” it, Grand Maison Tokyo was a “mash” made in heaven of good performances, delicious looking food, and engaging characters. It was “shrimply” irresistible.

5 September 2024

Leia Mais

"Life itself has its own life"

If you watched Everything Everywhere All at Once and thought it was overly simplified and spoon-fed its audience, Leonor Will Never Die might be the reality tripping, mind bending movie you want as long as you don’t mind a bare bones budget. Director Martika Ramirez broke the fourth wall and the 5th dimension.

Leonor worked in the movie industry until tragedy struck. Now ten years later, she and her son Rudy barely speak to each other and literally can’t keep the lights on in the house. She decides to dust off an old script and finish it hoping to help pay the bills. Before she can wrap the story up she’s hit in the head by a flying television and sent into a coma. She enters the world of her script and discovers the traumas she’s put her characters through.

The above paragraph sounds similar to other “entered a make-believe world” dramas and films we’ve all seen. Then Ramirez added a ghost that everyone could see, a pregnant man, and strange criss-crossings of realities. She even threw in a song and dance number. I’m not familiar with 1970’s-80’s Filipino action flicks but Leonor’s re-enacted film looked much like old Hong Kong films from the same time with the same chicka-bow-wow music.

I have no idea if Ramirez wrote this to speak about some deeper social commentary. Should we stop extolling violence to resolve problems, poor Ronwaldo was tortured by Leonora’s writing. Was the story a way for Leonor to work through her grief? I spent most of my time trying to figure out what was going on as the characters and story jumped from one reality to the next. At one point, when Leonora disappeared, the doctor told her son to not bother looking for her. She’d seen this kind of bizarre thing before when people needed to finish their stories. The doc looked at the distraught son as if to say, “Writers, am I right?” Martika Ramirez used comedy, violence, family, and supernatural occurrences to take a woman near the end of her life on a trip that could be described as a “dream within a dream*”--- especially if she’d had spicy food and cold medicine mixed with alcohol before bed.

24 August 2024

*Princess Bride quote and/or Edgar Allen Poe

Leia Mais

"It takes time to learn to like yourself"

Director Kim Bo Ra explored the joy and pain of adolescence in The House of Hummingbird. Life for an adult can be chaotic and overwhelming, at fourteen, Eun Hee was neither a child nor an adult. Her world was confined to the two places she didn’t fit in---school and her family.

“How many do you understand?”
Eun Hee’s family stresses education to the point that her brother easily flies into rages and beats her, her older sister has begun skipping school, and Eun Hee has a tendency to fall asleep in class. At home her parents come across as disinterested in her or verbally abusive. Dinners are eaten in silence or with the father berating them. When she has a health concern that worsens, Eun Hee has to deal with it all by herself. Anything resembling emotional support is in short supply. She has an on-again, off-again boyfriend and a best friend she attends Chinese tutoring school with. It is her new tutor who actually sees her and lets her know she’s valuable just as she is that touches Eun Hee and frees something within her.

“We should all live separately.”
There were times watching this I was waiting for someone in Eun Hee's family to snap and commit a mass murder. Her parents would go from a no holds barred screaming match and using a lamp as a shiv to acting like nothing happened the next morning. Vicious words were thrown around at the children and physical blows. Then everyone would shove all the frustrations, anger, and fear somewhere deep inside and live in silence with each other. The two sisters’ needs were especially invisible with a brother in the house. Their mother was in a vicious cycle as she’d had to drop out of school in order for her brother to finish high school, a man who never amounted to anything. As Eun Hee learned from her tutor, even a quality university education did not guarantee happiness.

“Will my life start to shine someday?”
Dealing with physical abuse, insecurities, and fickle friends, Eun Hee learned from her tutor that as long as she had her two hands and could move them, she still had the ability to change things. Eun Hee found that friendships and connections made life more bearable or even simply jumping on a trampoline on a sunny day. Despite the chaos around her, Eun Hee’s resilient spirit began to soar. Bad things happen but so do good.

“What’s the right way to live?
Somedays I feel like I know but I don’t really know for sure.
I just know that when bad things happen, good things happen, too.
And that we always meet someone and share something with them.
The world is fascinating and beautiful.”

23 August 2024

Leia Mais

"This is my prisoner"

If Sergio Leone had been a woman, Indonesian, and used motorcycles instead of horses, he might have made something like Marlina the Murderer in Four Acts. Thankfully, Mouly Surya is a woman and she created this beautifully shot, unflinching look at a woman alone who faced a gang of bandits in a desolate landscape with only her wits and courage. Contrary to the title, Marlina wasn’t a murderer except perhaps in the eyes of the men in the film.

Widow Marlina lives in a remote area tending her livestock. Unwanted guests come in the form of 7 bandits intent on stealing her animals and raping her. Two of the bandits leave with the animals---they were the lucky ones. The next day Marlina sets out walking carrying the leader’s head in a bag with the intention of reporting the incident to the police. Nothing goes easily on the long journey into town and the return trip home, especially with the remaining two bandits searching for her.

When I researched this film in order to submit it to the MDL DB, the words revenge, redemption, and murderer were thrown around by reviewers and in the film’s description. After watching the film, I wanted to ask these people, “did we watch the same thing?” If a man knew he was about to be gang raped and murdered and defended himself would anyone be saying he was vengeful or a murderer? Would he need redemption and forgiveness? Not. A. Chance. I was so proud of Marlina when her friend asked if she wanted to go to church and confess her sins, Marlina replied, “I have no sins to confess.” No, girl. You did not. And her friend, Novi, would understand Marlina’s “sins” before the credits rolled. Marlina may have seen Markus’ headless body following her playing his musical instrument as she traveled to the police department, but it certainly wasn’t out of guilt and the tactic wasn’t used for very long. It actually came across humorously.

Despite a sexual assault, this was not a sexploitation film. And despite defending herself, Marlina was not a kung fu badass. She was a woman who used her wits to protect herself and also tried to do the right thing. When she attempted to report the crimes committed against her, she ran into officials who couldn’t have cared less and would have gone after her if they knew all that happened.

Director Mouly Surya and her cinematographer Yunus Pasolang provided incredible cinematography. The bare, endless rolling hills showed just how isolated Marlina was. This was not an action-packed, fast moving film. The story unfolded at a deliberate pace slow enough that the viewer traveled the long trails and experienced the excruciatingly suspenseful perils with Marlina. I also enjoyed the headings for each act. Setting the mood was a lovely blend of Ennio Morricone* inspired western score and Indonesian music.

Marsha Timothy gave Marlina a gravitas and vulnerability with few spoken words. Dea Panendra as the very pregnant Novi at first came across as a thoughtless airhead, but when thrown into the thick of things Dea displayed a greater acting range as her character faced dire circumstances. Which brings up another thing that women have no control over. With her baby long overdue, Novi’s husband and mother-in-law were convinced it was a sign she’d been unfaithful as the baby might be breech.

Marlina the Murder in Four Acts was a western with a decidedly feminine slant. It was also gorgeous to look at and listen to. Marlina might not have been a gun toting or sword-wielding superwoman, but how many people do you know who could not only protect themselves but wander through the countryside with their “prisoner” in a burlap sack?

6 August 2024




*Composer for such Sergio Leone movies as “The Good, The Bad, and The Ugly” and “For a Few Dollars More”

Leia Mais

"Life is strange"

The Voice of Water showed the progression of Min Jung's career from scam fortune-teller to priestess of the God’s Water cult complete with its own marketing team. Creating a cult was just another business start-up. When her deadbeat dad entered the picture, danger lurked beneath the murky water of greed.

Min Jung’s grandparents emigrated from Jeju Island to Osaka during the island’s turbulent era. Because Min Jung’s grandmother had been a shimbang, her friend Mina talks her into starting a fortune telling gig in order to earn money. When it becomes successful, the young women find themselves with a business plan and marketing team. Min Jung begins to tire of being a priestess as her conscience comes to life. Mina tells her that it doesn’t matter if she’s a sham because if people believe they are being helped, then they are. Min Jung’s father makes an unwanted appearance when he runs afoul of the local yakuza boss. Her estranged father brings trouble as well as an unstable disciple who’d like to take her place.

There was an interesting and cynical premise at the heart of this film, that religion is all about having the power to make people believe and is just another business venture. Whether the cult leaders believed what they were selling was irrelevant. Most importantly, the devotees did and eagerly handed over their hard-earned money. When Min Jung returned from a retreat as a true believer, wanting to save the world, she upset not only the business model but her business team as well.

The film did present an angle I’ve not seen used much by showcasing the Korean-Japanese community in Japan. Min Jung reconnected with her family’s past when she learned about the tragic history of Jeju Island and her grandmother’s life as a shimbang there. Archival photos from this terrible time when 30,000 people were killed and 70% of villages were burned during the clashes before, during, and right after the Korean War with the red scare were shown. Early images of Korea Town in Osaka were shown as well.

The Voice of Water wasn’t all religious scams, Min Jung’s father and his connection to the yakuza brought a malevolent touch. Fair warning, there was a rape scene and talk of sexual assaults if this is a trigger for you. The yakuza story was the least interesting part of the film for me and felt out of place unless it was to say that the crime syndicate also had its tentacles in religious cults as well. I’m sure director Yamamoto showed the reasoning behind the violent climax to the film, but whatever meaning there was attached to it eluded me.

One of the problems this film had was a rather large cast with ill-defined characters. I found it impossible to care about most of them. On her retreat into the woods, Min Jung listened to a tree and was suddenly ready to save the world. Despite her epiphany her character still came across as vague. This was due more to the writing than the acting. Hyunri gave a strong performance as the priestess with a serene façade and party girl afterwards drinking with her friends. I liked that Min Jung and her friend Mina were loyal to each other, but even this important friendship wasn’t given enough details

Fans of director Yamamoto’s other films will want to try this one. For me, there were some engaging elements teased but never fully fleshed out. Ultimately, I found Min Jung’s journey to be long and underwhelming. Water could bring rebirth and death, though enlightenment was difficult to find in the nebulous pool of business.

29 June 2024

Leia Mais

"Don't come back!"

If you are curious about those insanely expensive grapes sold in Japan, The Grapes of Joy gives a tiny insight into how they are grown. I’ll admit the heartwarming part of the story was something that attracted me, but the hyperventilating, inept, female lead hired for her smile dragged it down for at least the first half of the movie. This type of overly-enthusiastic character is hugely popular so this is just my curmudgeonly response to her.

Soma Haruna shows up late to her interview at Minamoto Kitchoan but the president of the company has mercy on her and lets her interview. Her sob story gets to him and she is hired despite everyone else’s reservations. Haruna is shuttled from department to department after making hilarious and kindhearted mistakes until the only place left for her is working in the vineyards where the grapes are grown for the company’s signature treat. There she meets the owner of the vineyard, Akiyoshi Shinsuke, who has no desire for her to work for him. Haruna doesn’t know the meaning of the word “no” and continues to show up every day.

Within the first 30 minutes, Haruna---fell dramatically twice, was late for her interview, lost her wallet, lost her phone, presented an error riddled resume, ruined two batches of candy, left the candy store and register unattended, got lost, ran a customer off with her pushy, unrestrained enthusiasm, nearly ruined expensive grapes, demonstrated no self-awareness or ability to follow simple instructions, and was unable to comprehend when people were making fun of her. I know I was supposed to be charmed by her, but I sympathized with her supervisors. I wouldn’t have hired her to water my houseplants while on vacation. At one point when she was relegated to making copies I wondered if she’d accidentally and hilariously burn the building down. Of course, Haruna discovered Akiyoshi’s secret pain and worked to save not only the grapes for the company but also heal the older man’s heartache.

I found the grape growing aspects of the film interesting though there wasn’t much to be learned. Haruna calmed down the longer she worked at the vineyard and began to think beyond her own desires around Akiyoshi, which helped my viewing experience. The Grapes of Joy worked hard to be heartwarming, maybe a little too hard and obviously.

15 July 2024

Leia Mais

Treasure map to a hidden gem of a film

I braced myself when I started Tange Sazen and the Pot Worth a Million Ryo. Having watched numerous films from the 1920’s and 30’s, I’m used to darker themes and sadness. To my relief and surprise, this 1935 film was a delightful, lighthearted romp with no undo suffering in sight.

A miserly daimyo lord discovers that the old, dirty, monkey pot he’d gifted his brother turns out to hold a map for a million ryo hidden treasure. The brother, Genzaburo, is dominated by his beautiful wife and offended at the cheap gift. When the daimyo’s retainer generously offers to take the "worthless" pot off his hands, Genzaburo refuses. He’s excited when he finds out about the treasure map, but also thwarted when his wife tells him she sold it for a pittance. The missing pot actually gifts him with something better than money. In order to search for the pot, he’s able to leave the house unattended!

“Edo is huge. It might take 10 or even 20 years. It’s like going out for revenge.”

The pot ends up in the hands of an orphan who uses it as a goldfish bowl. Both pot and child are taken in by the one-eyed, one-armed ronin, Sazen Tange. Sazen is also henpecked, not by a wife but by the proprietress of the shop he guards. There are gifts for sale and men can come in to eat and drink and shoot arrows at targets, much like at an arcade. The fun begins as multiple people search for the pot in earnest and Genzaburo delays finding it so that he can have some fun.

I don’t always connect with the humor in nearly 100-year-old films, but I laughed out loud a couple of times with this one. Even when they bickered and verbally refused to do the right thing, the characters always ended up being generous, protective, and kind. There were a few, quick samurai fights and sparring, but nothing to ruin the gentle mood.

This Tange Sazen film was a beautiful hidden gem, highlighting some of the best of humanity in a humorous way. I wish more of director Yamanaka Sadao’s films had survived. I look forward to trying his other two extant films.

8 July 2024

Leia Mais

"Only the cloud knows the feather"

Spies, assassins, poison, sword fights, and a struggle for the leadership of one of the last sects not under the thumb of the evil Wufeng sect, My Journey to You attempted to cover a lot of ground. Populated with beautiful people and costumes, this drama was sometimes more stunning to look at than compelling.

What drew me to this drama was the promise of not one, but at least two female “assassins”. This felt like a bad translation, as they were more spies than killers. Yun Wei Shan had real possibilities for a dark and intriguing character. Once the Gong male characters were introduced, it often felt like the Wufeng spies had little to do other than talking in whispered tones. When a double tragedy left the underachiever, Gong Zi Yu, as the only choice for Sword Wielder, I had to agree with the snide Gong Shang Jue. Zi Yu was pitifully unprepared for such a task. Of course, it was difficult to side with Shang Jue and his “brother” Yuan Zhi, as they could be insufferably contemptuous. Much of the drama focused on Zi Yu’s trials in the Three Realms of the Back Hill with some assistance from Yun. Shang Jue had his own undercover bridal spy to deal with as well.

At the beginning I was completely engaged with this drama. Then it began to rinse, lather, repeat for me one too many times. Zi Yu and Shang Jue kept being hauled before the elders where they could accuse the other of causing problems. At this point I felt like neither one deserved to be the Sword Wielder. The Back Hill provided some interesting characters and trials when the two Gongs weren’t arguing over who was prettiest. There were multiple attempts at humor, usually involving the overly dramatic and over acted role of Gong Zi Shang and her crush on Zi Yu’s bodyguard, Jin Fan. Which brings up the point, this was the martial world and only the “bad” girls knew martial arts. The Gong women all seemed to be rather defenseless. To quote Eowyn from LOTR: TT, “Those without swords can still die upon them.” The oldest surviving Chinese wuxia starred a woman! I was disappointed by the lack of Gong women wielding swords.

The beginning was strong and I enjoyed some of the middle until it became bogged down in recrimination after recrimination. The last part with the fights that had real consequences was more engaging. Then the big “twist” was almost a movie length of exposition. “I suppose you all wondered why I gathered you here today…” The acting varied from adequate to excellent. This drama should help Ryan Cheng graduate from web dramas for good. I also quite enjoyed Wen Zheng Rong’s performance as Lady Wu Ji. She was able to go from calculating to maternal in the blink of an eye.

Overall, I found this to be an entertaining and binge-worthy, if flawed, drama. Had it not been for my least favorite ending-the open end, I would have bumped it up to at least an 8. Maybe there will be a S2, maybe there won’t. If they develop a compelling S2 that coincides with this story well, I’ll revisit my rating. Even with the disappointing ending, this was a journey worth making.

1 July 2024

Leia Mais

Creative writing with a twist!

I was looking for female directors and came across this tantalizing short film. At the age of 21, Go Min Si wrote, directed, and starred in Parallel Novel.

This film reminded me of the SpongeBob episode when the pencil with magical powers came into his possession. I wish this film had been longer to develop the elements we were teased with in this fleeting story. In 3 minutes Go Min Si created two worlds, filmed beautifully. With no spoken dialogue the emotions were played out perfectly with body language and aided by the tense musical background. There was more suspense in 90 seconds than some movies accomplish in 2 hours.

What I loved the most about this concise and well paced film was that the female character stood up for herself against a terrible male writer who had subjected her to some of the worst tropes aimed at women. I only wished she had taught him a better lesson!

Go Min Si showed great promise with this short film. I'm disappointed that 8 years later she hasn't had any more screenwriting or directing credits. I'd really like to see what she could do with a bigger budget and full length format. If you have 3 minutes to spare, I could easily recommend Parallel Novel.

19 June 2024

Leia Mais

"Life is so hard"

The Old Town Girls was a film that wasn’t sure what it wanted to be or maybe it wasn’t what I wanted it to be. The film was inspired by a true story, though I don’t know which of the unsavory real events made it to the screen. Three girls with absentee parents, living in a dying town, had their lives turned upside-down when Shui Qing’s mother came back into her life after seventeen years. Darkness lurked beneath the shining yellow façade Qu Ting hid behind which would affect everyone adversely.

Shu Qing’s dad spends much of his time working at the local factory. Her stepmom resents her presence which leaves Shu Qing alone much of the time. One day Qu Ting returns to Shu Qing’s life in a flash, driving a yellow car, wearing yellow clothes, and bright red lipstick in contrast to the drab world her daughter inhabits. Shu Qing is so desperate for a parent’s love and attention that she quickly forges a bond between them, willing to do anything her mother asks. Shu Qing’s friend Jin Xi is well to do, but lives alone most of the time while her parents travel for work. The third friend, Ma YueYue, has lived with a wealthy couple for years while her father worked elsewhere. When he returns, he dominates her life and physically abuses her. Qu Ting brings a great deal of energy and controversy to the friends as well as death when her past catches up with her.

Director Shen Wu started the film at the end and then went back a few days to show the actions leading up to the tragic consequences. I wish she hadn’t as it took much of the suspense out of the ripped from the headlines events. The criminal part of the story felt heavy-handed and clumsy. The strength of the story centered around the three girls desperate for attention and love. I would like to have seen their backgrounds more fully developed, including the mother’s. The economy had a direct effect on the parental absences which created insecurities in the teenagers. All three girls felt trapped in their unhappy homes. The flamboyant mother’s arrival shook them up and took a toll on the friendships. This could have been an engaging coming of age and friendship film, but it disintegrated into a tragic crime committed by a desperate daughter compelled to save her mother and keep her in her life. The mother’s life was the sum total of her repeated mistakes and bad decisions which came to define her daughter’s life as well. The Girls of Old Town was an entertaining watch although the ending felt out of touch with the rest of the film. If you are in the mood for a dark, melancholy film designed to make you feel uneasy, this might be the ticket.

18 June 2024

Leia Mais

Dream vs Reality

Fascinating Dream in the Grassland was shot so realistically that it was difficult to tell whether it was a short film or documentary. At only 13 minutes long, the film told the story of Gele/Garus and her love of dance and her love for her family.

Gele lives on the Tibetan grasslands with her family. They are the last generation of grazers and herders. There are sheep, yaks, horses, and cattle grazing on the vast grasses. When her father takes a herd to graze further away, Gele must help her mom with the animals left behind. As she works in the fields, Gele dances and dreams of going to the big city to learn more and perform. Gracefully and joyfully, she lifts her arms and moves her feet to the songs in her head. Her dream is compared to the familial needs as her grandfather and brother state her responsibilities to their family in their remote life with their herds.

Gele’s father will make the final decision whether she can leave and if they have the money for her to go. And Gele will have to decide what she truly wants. Whether performing in front of people is her dream or dancing on the grasses with the mountains in the background.

The cinematography was stunning with the grasslands and mountains as the backdrop for the story. The acting came across very naturally as if it was a documentary. For a short film, Fascinating Dream gave an intriguing glimpse into a young woman’s heart and a fading way of life.

27 May 2024

Leia Mais

"A decade, is that a long time or no time at all?"

Going into The Last 10 Years there was no denying what type of movie I would be watching-a story about a young woman with a terminal illness based on a true story. But as with any genre, it’s how the story is implemented as to whether it touches you or not. The moment the director cues the violins and tries to manipulate my feelings, I tend to dig in and become resentful. This film was quite the opposite. While the music was emotional and lovely, the story slowly unfolded allowing the characters to make their way through decisions about life, death, relationships, and whatever the future means.

When Matsuri is in the hospital she is given a camcorder by a dying mother and admonished to, “Live every minute to the fullest.” That advice is hard to follow after she returns home and boredom overtakes her. Diagnosed with Pulmonary Arterial Hypertension her list of restrictions and medications is quite long. She goes to a middle school class reunion where no one knows about her illness and reconnects with old friends. The standard questions arise about marriage, children, and work. Kazuto, a boy she doesn’t remember, attempts to reach out to her. Kazuto has his own issues with life and death and before long, he, his friend Takeru, Matsuri and her editor friend, Sanae, begin to hang out. In the dark about her illness, Kazuto is clearly smitten but Matsuri has her daily grind with avoiding death to deal with as well as her loving but concerned family.

Matsuri and Kazuto both had their issues with life’s disappointments and whether death would be a tragedy or a gift. As they grew closer, both began to embrace life more. For Kazuto, the future held promise and an unknown amount of time. For Matsuri, tomorrow was always in question knowing her time was imminently finite. No one gets out of this life alive, but for Matsuri, that harsh reality faced her every day. I was happy there was no countdown clock as if the 10 years prognosis was ironclad. The median life expectancy for someone with PAH is 5 years. Each crisis she faced could have been her last. The film didn’t throw roadblocks into her relationship with Kazuto just for the standard effect. Matsuri not only had to take Kazuto’s feelings into consideration but her own as well. She did what she needed to do to be strong enough to face death.

Komatsu Nana gave a beautifully nuanced performance as Matsuri. Layers of emotions peeled forward and back as she portrayed Matsuri dealing with her day-to-day struggles with Death hanging over her shoulder. Ever aware of her parents’ pain, she put a mask on for them most of the time and for her friends. When the dam finally broke and her fears and disappointments rolled over her, Komatsu’s performance was raw and real. Ever cautious with Kazuto so as not to get too close, but staying close enough to bask in his warmth, you could feel the walls she kept carefully erected. And finally, as Matsuri’s body began to collapse, the slow acknowledgement of a clock ticking down.

Far from being maudlin, The Last 10 Years was an exercise in living well and making the most of life regardless of circumstances. Whatever Matsuri gained-a relationship, a job, a friendship, she was always aware how close she was to losing them. Yet she still found the strength to try. She was searching for meaning and just the simple experiences of living. I was here. I lived. I loved. And in her strength, she gave Kazuto a love for life as well.

“My life might look like just another boring existence but you’ll always be with me.”

16 May 2024

Leia Mais

"I had no regrets until I met you"

Happy Together was a haunting, gut-wrenching look at love and loneliness with stellar performances by the main cast. Tony Leung Chiu Wai and Leslie Cheung played an on again, off again couple who were often lonelier when they were together than when they were apart.

Ho Po Wing and Lai Yiu Fai have traveled from Hong Kong to Argentina. On a trip to see the Iguazu Falls they become hopelessly lost and Ho breaks up with Lai and not for the first time. Lai finds work as a club doorman while Ho starts turning tricks to make a living. As Lai watches Ho with other men, a deep sorrow and homesickness overtakes him. He doesn’t want to inevitably “start over” as they usually do, he wants to go home to Hong Kong. He needs to make enough money first. When Ho is beaten by one of his clients, Lai lets him in and takes care of him, but refuses to sleep with him. At a new job, Lai makes friends with Chang, a young man from Taipei, which causes friction between the two lovers.

Ho and Lai were in a “can’t live with him, can’t live without him” dynamic. Ho had a reckless streak that Lai tried to tame, but would cause Ho to chafe at the constraints. Every scene was filled with raw emotions-longing, agony, passion, and despair. While Leslie Cheung gave a wonderful performance as the erratic Ho, it was Tony Leung who captivated me with his. I’ve seen Tony in numerous films, but this was the best performance of his I’ve seen so far. He has never had a problem with the too cool for school vibe, but in this film, he tore through emotions left and right without going over the top. It was impossible to not empathize with Lai when the heartache and misery were visibly eating away at him. In a scene where Ho taught him how to dance, the desire not just for this man, but also a longing for something more, something unattainable was quite moving.

A young Chang Chen as Chang Wan brought a breath of soothing air into Lai’s life. The friendship was easy and a reminder of home. Chang had a tender scene as he tucked a sorrowful, intoxicated Lai into bed. Their friendship was a lifeline for the floundering Lai. When Chang left Buenos Aires, Lai was truly adrift and found that “lonely people are all the same.” Lai became more convinced he did not want to ever “start again” with Ho, regardless of his deep feelings for him. Ho was like the prodigal son who had to occasionally self-destruct knowing that Lai would always be there for him in some capacity.

This film had Wong Kar Wai’s trademark palette of greens, yellows, and reds along with scenes in black and white. There is no denying his aesthetic gift, but sometimes I don’t connect with the story he’s telling. Happy Together connected everything for me. The plot was thin, almost non-existent, as these men struggled to make a living and struggled to alleviate their desire to return home and to somehow survive their complex disparities. I thoroughly enjoyed the varied music, which ranged from Tango Apasionado to fittingly enough, Happy Together originally by The Turtles. The songs flowed naturally through the film as stark emotions ebbed and rose.

Happy Together’s unflinching exploration of a tempestuous relationship was hard to watch at times, but impossible to look away from. Tony Leung peeled back his stunning façade and poured out an impressive array of emotions both nuanced and heartbreakingly real. Much like the Iguazu Falls, Ho and Lai’s bond was powerful, chaotic, captivating, murky, and completely unforgettable.

8 May 2024

Leia Mais

"Do you think monsters are afraid of themselves?"

Seventeen-year-old Satoko struggles with an eating disorder and sense of alienation from her family and friends as she deals with her hidden eating habits alone in Taste of Emptiness. Director Tsukada Marina drew from her own experiences in the making of this independent film. Both heartbreaking and hopeful, Taste of Emptiness didn’t shy away from Satoko’s daily confrontations with her obsessive behaviors and the desire to overcome them.

Satoko and her friends, Yuko and Kanae, belong to the dance club and are preparing for a competition. The talk in the dressing room often revolves around weight and boys. At home, Satoko goes to the frig, hungry, but concerned about the calories in the food. When she does succumb to pudding she exercises afterwards. Her anxiety and OCD behaviors gradually grow worse as she begins to binge and purge. Her father notices she’s not eating but her mother chalks it up to a small appetite and the changing seasons despite Satoko’s weight loss. When her older brother realizes she's purging, the men organize an intervention at dinner against the mother’s wishes. After words held tightly for too long coming spewing out, Satoko leaves to stay with Kanae. Her problems only escalate in the new environment and soon she’s not going to school and drops out of dance. When she runs out of money, she returns home and begins therapy. While waiting on the doctor, she meets Maki, an “evening office worker.” The two become friends and spend time together. Satoko begins to understand Maki’s problems run deeper than they appeared at first glance, yet the unorthodox woman’s acceptance of her as she is bolsters her confidence.

Taste of Emptiness used an array of symbolism for Satoko’s emotions such as being underwater and wearing a Noh mask to hide her inner feelings. When she confronted her family at the intervention you could see her withdrawing into herself, the pain palpable and intensifying. Confused and scared of people discovering how confused she was, she vacillated between being angry at her family and angry at herself. “When I’m invisible, I can relax.” Satoko’s mom had to fight through her own denial about her daughter’s condition. Eventually, both mother and child worked to find a better place between them.

Reasons for eating disorders are as complicated and varied as the means for healing them and this film didn’t take any shortcuts or give any easy answers. Satoko worked with a doctor, medications, her family, and her friends. Maki’s influence on her also came as a double-edged sword though it did seem to jumpstart her healing. Taste of Emptiness was a slow paced jarringly realistic film about one teen’s search for healing and meaning as she dealt with the “thin ideal” and coming to accept she was okay even when she didn’t feel okay.

“I hope you can be who you want to be.”
“Even if I’m crazy?”
“You have to start somewhere.”

7 May 2024

Leia Mais

"There are times when the right choice is not always the moral choice"

Tokyo Vice Season 2 started off where S1 ended with characters’ lives in jeopardy or completely snuffed out. With Tozawa in the wind, the drama took the time to explore other crimes in Tokyo and the private lives of the journalists. When the Dark Lord of the Underworld returned with a diabolical strategy to own Japan, the heroes would be put to the test. While not as taut as the previous season, S2 was still engaging.

Due to serious threats against them, Jake and Katagiri are forced to lie low. Ishida draws Sato closer into his confidence after the attacks from S1 even as he makes a returning yakuza his second in command. When Sato’s brother is courted by the new Oyabun it leads a reluctant Sato on the path he had never wanted but cannot seem to escape. Samantha mourns the loss of her friend as she opens her new club. Having the yakuza for a business partner begins to take its toll. Things at the newspaper are going smoothly until Tozawa returns and our intrepid gang of journalists and police officers discover that neither the newspaper nor the police department are willing to take on the Dark Lord of the Underworld. When all seems lost an unexpected ally arises to bring help when they need it. The good guys will have to dirty their hands and cross lines that can’t be uncrossed if they want to bring Tozawa down.

The first few episodes took some readjustments in expectations after the powerful ending of S1. Having been credibly threatened by Tozawa, both Jake and Katagiri had to keep their investigations under the radar and focus on pursuing other stories and cases. The drama became more episodic procedural until Tozawa returned and upended everyone’s lives. The private lives of the journalists were explored which will be hit or miss determined by your interest in that angle. Even though little time had passed Jake was less titchy and agitated yet still arrogant enough to believe he was always right. His position at the paper seemed well established. Sam’s behavior was more empathetic for a girl on the hustle. Unchanged, Katagiri was a rock and the guy you wanted in your corner and not as your enemy. After the break in trust from the last season, Jake earned it back, with Katagiri stepping into a sensei or surrogate father role to the brash journalist. The two adrenaline junkies were dogged in their desire to expose Tozawa’s sinister plot. Emi came into her full power as she defied her supervisor in pursuing the risky stories. Her love life seemed to suspiciously follow Sarah's from Love Actually. Most of the sexism and racism from the first season were gone in the second. The rigid system of invisible rules and alliances stayed in place. Katagiri, Jake, and Emi would all make decisions to bring about justice that would have consequences.

Like Jake and Katagiri, I was impatient for Tozawa’s return. The malevolent yakuza drove the action in season 1 and in season 2 as well. When he was off-screen the characters were treading water unaware that the great white shark was biding his time, lulling them into a false sense of security before striking again. I enjoyed the growth in different characters as they were all propelled toward the culmination of deeds and revenge. There were lapses in continuity and logic when the heroes were in deep water swimming with the sharks. Despite those lapses, Tokyo Vice served up a deliciously satisfying ending.

4 April 2024

Leia Mais