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Tag: Kentaro Ito
From Today, It's My Turn!! (今日から俺は!! 劇場版, Yuichi Fukuda, 2020)
Posted on December 29, 2021 by Hayley Scanlon
The high school fighting manga has long been a genre mainstay but perhaps hit peak popularity in terms of the big and small screen during the Bubble era with such well known hits as Sukeban Deka and Beb-Bop High School. More recent treatments have frequently bought into the genre's inherent absurdity such as the contemplative and melancholy Blue Spring, or the anarchic Crows Zero series helmed by Takashi Miike to which Blue Spring's Toshiaki Toyoda later added a sequel. Which is all to say, that a genre so deliberately puffed up and obsessed with macho posturing is near impossible to parody. Leave it Yuichi Fukuda to try with the retro nostalgia fest From Today, It's My Turn!! (今日から俺は!! 劇場版, Kyo kara ore wa! Gekijoban), a theatrical sequel to the TV drama series adapted from the manga by Hiroyuki Nishimori.
Set in the genre's heyday of the 1980s, the action takes place in a small town in Chiba with an improbably large number of high schools. Nerdy high schooler Satoru (Yuki Izumisawa) floats the idea of transferring somewhere else, fed up with all the delinquents at his school disrupting his studies with their constant violence but then it seems like everywhere else is the same. The big problem is that their two top guys have recently been deposed during a conflict with rival school Nanyo leaving a power vacuum while their school is temporarily merging with Hokunei from the next town over seeing as they've already burnt their school building down.
While many high school fighting manga focus on the hierarchy within one particular institution, From Today, It's My Turn!! is much more concerned with the battle between rival schools even if some of the more antagonistic fighters are in fact secretly friends. The first fight that breaks out is between bleach blond Mitsuhashi (Kento Kaku) and blue-suited Imai (Taiga Nakano) over a juice carton he bought for Mitsuhashi's aikido-trained girlfriend Riko (Nana Seino) which Mitsuhashi sees as an affront to his masculinity, though in truth the two guys seem to get along well enough in the long run. Most of this fighting is in essence performative posturing, something made plain by the unexpected cowardice of supposed top guy Mitsuhashi who it turns out frequently runs away when challenged even relying on Riko to get him out of trouble.
Though there are female gangs and female lone fighters, this is largely a male affair as the women, excepting Satoru's cousin Ryoko (Maika Yamamoto), are expected to perform their femininity as the boys perform their masculinity through fighting. The supposedly evil head of the girl gang from Seiran High, Kyoko (Kanna Hashimoto), turns into a walking embodiment of kawaii when encountering crush Ito (Kentaro Ito) who begins acting in an equally lovey-dovey fashion, but breaks right back into her delinquent tough girl persona as soon as he's off the scene. Aikido expert Riko meanwhile is largely reduced to trying to keep Mitsuhashi out of trouble while adopting an air of nice girl refinement. Only Ryoko who determines to take revenge on behalf of the bullied Satoru with the aid of a bamboo sword is allowed to stay firmly within the confines of the sukeban.
Nevertheless, despite their treatment of each other most of the gang members can't abide bullying which is why they eventually turn on Hokunei realising that they're the sort of guys that befriend vulnerable people only to betray them later. Yet like Mitsuhashi, Hokunei boss Yanagi (Yuya Yagira) is also an under-confident coward so insecure in his fighting prowess that he has to cheat by taping throwing knives to the inside of his blazer. Legitimate authority is it seems largely absent, parents either unseen or oblivious while the teachers are unable to offer much in the way of help, wandering round the town with a toy police car and a loudspeaker trying to fool the guys into dispersing.
Fukuda's brand of humour is nothing if not idiosyncratic and largely inspired by TV variety show sketch comedy which explains the random nature of many of the gags along with the absurdist manga to the max production design. He further amps up the incongruity by casting prominent actors clearly far too old for high school and then saddling them with ridiculous costumes to the extent that Taiga Nakano looks oddly like Frankenstein's monster with his too broad shoulders and overly bouffant quiff. While action choreography leaves much to be desired, fans of Fukuda's previous work will most likely have a ball though others it has to be said may struggle.
From Today, It's My Turn!! streamed as part of this year's New York Asian Film Festival.
Posted in Japan, New York Asian Film Festival 2021
Tagged 2020, 2020s, Eishin, Hayato Isomura, Hinako Sakurai, Hiroyuki Nishimori, Japan, Japanese, Jiro Ohkawara, Jiro Sato, Jun Sena, Kanna Hashimoto, Kenta Izuka, Kentaro Ito, Kento Kaku, Kotaro Yoshida, Maika Yamamoto, Mika Aihara, Nana Seino, Nobuyuki Suzuki, Reiya Masaki, Shinobu Hasegawa, Taiga Nakano, Tsuyoshi Muro, Yua Shinkawa, Yuichi Fukuda, Yuki Izumisawa, Yuma Yamoto, Yumi Wakatsuki, Yuya Yagira
Tonkatsu DJ Agetaro (とんかつDJアゲ太郎, Ken Ninomiya, 2020)
Posted on July 4, 2021 July 4, 2021 by Hayley Scanlon1 Comment
Among the more prolific of young indie talents currently emerging in Japan with five features released since his 2015 debut Slum-Polis, Ken Ninomiya is fast becoming the go to chronicler of Tokyo's contemporary club scene but unlike The Limit of Sleeping Beauty or Chiwawa, Tonkatsu DJ Agetaro (とんかつDJアゲ太郎) is a surprisingly wholesome take on the same phenomenon as an otherwise clueless young man begins to step into himself after accidentally falling love with the live house vibe.
As his slightly amusing name implies, Agetaro (Takumi Kitamura) is the third generation heir to a tonkatsu (deep fried pork cutlet) restaurant. It's not that he doesn't want to take over the family business, but admits that he'd largely be doing it because he doesn't know what else to do. His rather nerdy friends, all sons of small business owners in an area of Shibuya with a distinctly small-town vibe, are in much the same position. Ironically remarking that Agetaro always loses at The Game of Life as they hang out playing boardgames, the guys eventually find him with a pair of binoculars staring at a girl in an apartment opposite they are convinced inhabits a different word where people eat prosciutto and cheese and drink fancy wine. Agetaro gets an unexpected chance to meet his unobtainable crush, Sonoko (Maika Yamamoto), when he's summoned to deliver a bento to a dance club after hours for a moody DJ, Oily (Yusuke Iseya), who describes tonkatsu as the area's "soul food" and rates Agetaro's dad's as the very best. Allowed to step onto the dance floor, he finds himself blown away by Oily's set and determines to become the very first tonkatsu chef/DJ partly in the hope of impressing Sonoko.
Though set very much in the present day, there's a pleasingly retro quality to Tonkatsu DJ Agetaro that recalls old school Showa-era musical youth movies in which young guys from humble backgrounds make something of themselves by working hard and staying true to their roots. Agetaro's problem is that he's caught in a moment of adolescent anxiety, resentful of his father (Brother Tom) whom he feels looks down on him, refusing to let his son anywhere near the fryer while making him chop cabbage all day and reminding him he doesn't have to take over the shop if he doesn't want to. Agetaro's dad won't teach him to fry because he thinks he doesn't take anything seriously, and he might be right, but as his sister (Natsumi Ikema) says he's worried about him too secretly trying to be supportive by standing at the back of the room when Agetaro gets his big break at the local club.
Despite being mentored by Oily, however, Agetaro blows his first opportunity failing to get the crowd moving with a rather naff set designed to entertain his equally nerdy friends. But failure, crucially, only endears him to Sonoko who had previously been put off by his cheesy attempts to become a viral YouTube star with a series of gimmicky videos featuring himself and his friends wearing novelty "tonkatsu" outfits. Where he thought of giving up, Sonoko's reminder that everyone makes a mess of things once in a while and no one should expect success right out of the gate helps Agetaro realise that what he needs to do is bring all of himself to his set which in this case means understanding that the thing is learning do something well and in that there's no difference between frying the perfect cutlet and finding the perfect beat. Simply put, he needs to become the Tonkatsu DJ for real.
Attracted to DJing because of the freedom it offers, Agetaro eventually finds his "heaven" on the dance floor marrying both sides of himself as he accepts his tonkatsu legacy and claims his space within the club scene which here is unproblematically joyful, a warm and welcoming space in which young people come together to enjoy good music, dance, and have wholesome fun. Simply put, it's hard not to fall in love with a film which makes space for an unironic and unapologetically joyful moment of catharsis featuring Belinda Carlisle's Heaven is Place on Earth. Shifting away from the slick music video aesthetic of his earlier work, Ninomiya hits lowkey charm in his tale of minor slacker success as his feckless hero finally figures himself out and learns how to cook up a storm in the store and on the floor.
Tonkatsu DJ Agetaro screens on July 4/6/9 as part of this year's Neuchâtel International Fantastic Film Festival (NIFFF)
Posted in Japan, NIFFF 2021
Tagged 2020, 2020s, Brother Tom, Japan, Japanese, Kasumi Yamaya, Ken Ninomiya, Kentaro Ito, Ko Maehara, Kodai Asaka, Louis Kurihara, Maika Yamamoto, Natsumi Ikema, Neuchâtel International Fantastic Film Festival, Neuchâtel International Fantastic Film Festival 2021, NIFFF, NIFFF 2021, Reiko Kataoka, Ryo Kato, Takumi Kitamura, Yusuke Iseya, Yutaka Mishima
Ride Your Wave (きみと、波にのれたら, Masaaki Yuasa, 2019)
Posted on February 17, 2020 by Hayley Scanlon1 Comment
"The next wave is already on the horizon waiting for you to catch it" according to the heroine of Masaaki Yuasa's uncharacteristically uncomplicated Ride Your Wave (きみと、波にのれたら, Kimi to, Nami ni Noretara) offering words of comfort to her dejected soon-to-be boyfriend over his continuing failure to master the surfboard. It's advice she struggles to follow herself, however, after she's blown off course by unexpected tragedy. Yet, nothing's ever really as off course as you think it is and the waves she must learn to ride are her own and hers alone.
Oceanography student Hinako (Rina Kawaei) is something of a mess. She's moved out on her own to study at university in Chiba, but is struggling with the transition to adult life, unable to unpack her things or cook herself a decent dinner. Nevertheless, she's become a "hero" to dashing fireman Minato (Ryota Katayose) who watches her bravely ride the waves from the roof of the fire station. The pair finally meet when some irresponsible students have an impromptu fireworks party that ends up setting fire to Hinako's building, leaving her marooned on the roof cradling her surfboard at which point she's rescued by Minato heroically appearing in a cherrypicker. She offers to teach him to surf, they go for coffee, and eventually fall hopelessly in love. Their romance, however, is cut short when Minato heads to the beach alone in stormy seas and drowns trying to save a jet skier who's got into trouble. Unable to deal with the grief, Hinako avoids the sea altogether but begins to believe she is seeing Minato in every watery surface and can in fact summon him by singing their favourite song.
Fellow firefighter Wasabi (Kentaro Ito), himself a little in love with the formerly fearless Hinako, tries to jolt her out of her "delusion" by asking how this could have happened to her, once so brave and independent now filled with grief and anxiety. Minato, whose name literally means "harbour", had promised to protect her, staying by her side forever. Faced with her first serious relationship going far too well, Hinako identified a potential problem in her possible over reliance on her extremely capable boyfriend, preferring to wait until she was able to ride the waves alone before taking the next step. Minato wanted the same thing, encouraging her growth while providing a "safe harbour", but his sudden absence has left her afraid to move forward and unwilling to leave the land.
Delusion or not, Hinako clings to her lost love, carrying around "Minato" in a tiny flask of water or filling up an inflatable porpoise and walking it all around town to the constant consternation of the locals. What she learns, on one level, is that she has to learn to save herself, but also that in doing so she can help to save others. Learning something about Minato's past and the reasons which eventually led to him becoming a fireman persuade her that she ought to use whatever skills she has for the common good. Meanwhile, the lovelorn Wasabi learns something similar after reconnecting with Minato's spiky sister Youko (Honoka Matsumoto) who was once a shut-in refusing to go to school where her rather abrasive manner made her an outcast but found a new strength in self-acceptance on hearing Wasabi declare that just being herself was good enough for him.
Youko decides to pick up her brother's dream of opening an artisanal coffeeshop, which is nice but also a little shortsighted in that it does not allow her to pursue a dream that's entirely her own other than through finding the courage to embrace the risk of romance. Likewise, Hinako and Wasabi are largely carried along in Minato's wake, but nevertheless make unambiguously good decisions in choosing to dedicate their lives to helping others, accepting that that's often less about grand heroic gestures than it is about small moments of connection. Hinako realises that she has to let go of the past, however painful, for Minato's good as well as her own, while finding her sea legs to take her into a more promising future. After all, the waves keep coming. Minato recedes into the great confluence of life, while Hinako gains the courage to ride the waves alone, no longer afraid to leave the shore but in search of new horizons.
Screened as part of the Japan Foundation Touring Film Programme 2020.
UK Trailer (English subtitles)
Posted in Anime, Japan, The Japan Foundation Touring Film Programme 2020
Tagged 2010s, Anime, Honoka Matsumoto, Japan, Japan Foundation Touring Film Programme, Japan Foundation Touring Film Programme 2020, Japanese, Kentaro Ito, Masaaki Yuasa, Michiru Oshima, Reiko Yoshida, Rina Kawaei, Ryota Katayose
Flowers of Evil (惡の華, Noboru Iguchi, 2019)
Posted on November 21, 2019 November 21, 2019 by Hayley Scanlon
Small-town ennui is something familiar to many who've found themselves feeling somewhat out of place in the place they've always been, but rebellions usually take less obvious forms than the nihilistic rejection of bourgeois respectability enacted by the conflicted hero at the centre of Noboru Iguchi's Flowers of Evil (惡の華, Aku no Hana). Iguchi is best known as a director of made for export splatter exploitation, so it might come as a surprise to his fans to see him take on the admittedly dark but largely gore-fee adaptation of Shuzo Oshimi's coming-of-age manga.
Takao (Kentaro Ito), a "regular" high school boy, likes to read "difficult" books such as the poetry collection by Charles Baudelaire from which the film takes its title. He feels himself somewhat above his surroundings, but superficially conforms to the ordinary world around him. Like many of his classmates, he's developed an adolescent crush on the school's prettiest girl, Nanako (Shiori Akita), but unlike his friends views her as his "muse", a pure and untouchable figure of unspeakable desire. Nipping back to the classroom alone to retrieve a forgotten book, he spots Nanako's gym bag lying on the floor and cannot resist opening it, burying his face in her clothes. Panicked after hearing someone nearby, he takes the bag home with him.
Everyone immediately knows that a "pervert" is responsible for the theft, they just don't know who it is. Except for the class' resident strange girl, Sawa (Tina Tamashiro), who apparently witnessed Takao's descent into perversion in real time. She makes him a deal – write an essay all about what a big pervert he is and she'll kept his secret in friendly complicity seeing as she is a kind of "pervert" too. Sawa, who is much more obviously "different" than Takao and completely unafraid of embracing it, is convinced that their town is entirely inhabited by "Shit Bugs", and they are the only elevated beings. Uncomfortable with her own desire, Sawa's behaviour becomes increasingly intense when Nanako unexpectedly expresses an interest in Takao, apparently impressed that he was so "upfront with his feelings" and willing to stand up for Sawa when she was accused of being a (but not the) thief.
Takao tells Sawa that he just wants to be "normal", to be the kind of man Nanako could desire. Just another confused teenage boy, he doesn't yet know who he is or what he feels and is, in a sense, consumed by the sense of emptiness that comes of lacking self-knowledge. He masks his sense of intellectual inferiority by feigning sophistication, spending his free time in second hand bookshops reading the accepted canon with a typically teenage obsession with death and despair. But as he is later forced to admit, he did so largely in order to feel superior. He doesn't truly understand much of what he read and lacks the maturity to accept his confusion. Nanako challenges him in more ways than one – by calling him on his wilful repression of his desires, and by confronting him about his obsession with Flowers of Evil, a "difficult" book which try as she might she can't understand. She doesn't "get" Baudelaire, and she doesn't "get" Takao because of it, but Takao doesn't "get" Takao either because he thinks he's a book filled with blank pages, that if you open the cover there's really nothing interesting there, just a giant void of emptiness.
Three years after stealing the gym bag, Takao describes his new environment as infinitely grey as if devoid of any sense of life, whereas the climactic summer is coloured by a vibrant greenery he claims to be equally oppressive. Fed up with small-town life, both Takao and Sawa long for a mythical "beyond" on the other side of the mountains which trap them within the claustrophobic environment of their provincial existence. They kick back against small-town conservatism with childish shows of resistance which culminate in a very public act of self-harm dressed as societal attack, but remain unable and unwilling to address the real cause of their frustration in their adolescent inability to accept that desire itself is not "perverse" or somehow sullying some grand romantic notion of pure and innocent love.
Unable to process his desires, Takao remains unable to progress into adulthood and become, as Sawa later chides him, a "regular human". Normality is, however, what he eventually chooses, reverting to the anxious bookworm he always was only having moved forward in learning to let something go, whereas Sawa perhaps feels that she has no other option that to accept her own "perversion" and be exiled by it. Takao discovers an internal "beyond" and tries to share it with Sawa, but she is looking for something else and cannot join him in the "regular" world to which he is always going to return. Iguchi dedicates the film to all those who are or were tormented by youth, allowing his tortured hero to find his path towards an integrated selfhood, but resists the temptation to belittle his suffering as he strips himself bare to exorcise the emptiness inside.
Flowers of Evil was screened as part of the 2019 Five Flavours Film Festival.
Posted in Five Flavours 2019, Japan
Tagged 2010s, 2019, Asuka Kurosawa, Five Flavours, Five Flavours 2019, Japan, Japanese, Kazuya Takahashi, Kentaro Ito, Maki Sakai, Mari Okada, Marie Iitoyo, Miho Kitagawa, Noboru Iguchi, Shingo Tsurumi, Shiori Akita, Shuzo Oshimi, Sumie Sasaki, Takara Sakumoto, Taketo Tanaka, Tina Tamashiro, Wakana Matsumoto
Thicker than Water (犬猿, Keisuke Yoshida, 2018)
Posted on February 9, 2019 by Hayley ScanlonLeave a comment
In the long history of the Japanese family drama, the tensions are generally vertical rather than horizontal. Siblings are often engaged in trying to broker the peace or snatch a little bit of independent living away from an all consuming family environment. Then again, we meet most families when the kids are gown up and struggling with their approaching transition into other families or other lives. Kids fight, but grown up brothers and sisters are supposed to find a degree of civility at least even if the petty resentments of childhood never quite go away. For the parallel pairs of mismatched siblings at the centre of Thicker than Water (犬猿, Kenen), however, the reverse is true.
Older sister Yuria (Keiko Enoue) has taken over the family print shop now that her father is bedridden while her younger, prettier sister Mako (Miwako Kakei) is struggling to make it as an actress. Often resentful of her sister's domineering, business-like attitude, Mako wilfully targets her weaknesses by making barbed comments about her weight and appearance of which she knows Yuria is insecure. Yuria, meanwhile, treats her sister as a foolish child, immediately taking over rather than let Mako do something "wrong" and thereby chipping into her insecurities about a lack of intelligence.
The spiky dynamic between the two sisters intensifies when Yuria develops a crush on a handsome young salaryman who makes regular visits to the shop to get his posters printed. Kazunari (Masataka Kubota), however, predictably falls for Mako (who is only interested in him as a way of annoying her sister). Meanwhile, he has sibling drama of his own in that his no good, thuggish older brother Takuji (Hirofumi Arai) has just been released from prison and made an unwelcome reappearance in his life.
What exists between the siblings isn't quite "rivalry", mostly they aren't fighting over parental affection or esteem so much reacting against their obviously complimentary characteristics. Yuria envies Mako's beauty, while Mako secretly envies her sister's intellectual confidence even if she also resents her bossiness and affectation of superiority in order to mask her insecurity. Kazunari makes a show of his earnestness, that he's doing everything "properly" – working hard, living within his means, paying off his parents' debts and saving for his retirement, while underneath it all he envies his brother's non-conformity even if its risks terrify him. Thus they snipe at each other. The thing about family is they know where all the buttons are and find pressing them extremely hard to resist.
That said, the familial bond is a strong one and perhaps they can snipe cruelly at each other precisely because it is unlikely to break. Nevertheless, when pettiness and cruelty intensify there can hardly be a positive outcome save perhaps to hit the reset button and send our warring siblings back to their idyllic childhoods in which they played together happily free from their adult resentments. Like children fighting over toys, each wants what the other has and seethes over the injustice of not being the one to have it. An extreme situation might seem to clear the air, repair the relationships and restore them to their original condition with each reaching an understanding of themselves and their opposite number, but old habits are hard to break and any thaw in relations is likely to be extremely temporary.
No stranger to extremes, Yoshida opens with a humorous sequence spoofing a trailer for a cheesy Japanese teen romance which is enthusiastically recommended by a series of vox pop champions, not least among them Mako who who somewhat unethically plays the part of a lovestruck young woman who over identifies with the movie's themes. The trailer promises a "parallel love story" which, in truly Yoshida-esque irony, is more or less what we get as we witness the symmetrical tales of our two sets of warring siblings whose animosity almost tips over into co-dependency. Mirrors of each other, they love and loathe but remain unable to reconcile themselves to the various faults they see reflected in their opposing number and therefore unable to break free from the petty jealousies and resentments which define family life. There may be no escape from the intense self loathing unfairly projected onto an equally burdened sibling, but perhaps there is faint hope in the enduring continuity of their quietly simmering warfare even as it binds them in mutual misery.
Thicker than Water was screened as part of the 2019 Japan Foundation Touring Film Programme.
Posted in Japan, The Japan Foundation Touring Film Programme 2019
Tagged 2010s, 2018, Aisa Takeuchi, Alisa Takeuchi, Hirofumi Arai, Japan, Japan Foundation Touring Film Programme, Japan Foundation Touring Film Programme 2019, Japanese, Keiko Enoue, Keisuke Yoshida, Kentaro Ito, Masataka Kubota, Miwako Kakei, Yutaka Mishima
My Teacher (先生!、、、好きになってもいいですか?, Takahiro Miki, 2017)
Posted on January 3, 2019 by Hayley ScanlonLeave a comment
Japanese cinema is having a mini moment of shojo crisis in its awkward obsession with student/teacher romance. While similarly themed age-gap "romances" such as After the Rain might have been better able to navigate the difficult seas of misplaced adolescent affection, Narratage and latterly My Teacher (先生!、、、好きになってもいいですか?, Sensei! …Suki ni Natte mo ii Desuka?), seem to have gone in a less palatable direction in accidentally implying that our squeamishness with these obviously inappropriate attachments might not be justified. The latest from romantic melodrama veteran Takahiro Miki, My Teacher is a perfect exemplification of the inherent problems with shojo romance and, in this case somewhat ironically, its inability to process the implications of a necessarily romantically naive perspective.
Our heroine, Hibiki Shimada (Suzu Hirose), is a shy, awkward teenager with a hopeless crush on her handsome, if somewhat aloof, history teacher, Mr. Ito (Toma Ikuta). Unlike her classmates, Hibiki has been slow to a romantic awakening and confused by her friends' various and rapidly changing crushes. Nevertheless, like her best friend Chigusa (Aoi Morikawa), Hibiki has begun to develop feelings for a teacher – Ito whose gruff exterior hides a considerate heart. Mistaking his general kindness for an extension of personal affection, Hibiki has fallen in love and even whilst knowing that there is something not quite acceptable about her feelings decides to pursue her inappropriate crush in the manner only a naive schoolgirl can.
Ito, as expected, turns down Hibiki's confession with weary resignation. A kind man who seems to limit his interactions with other humans in order to avoid becoming over involved, he is aware of the delicacy of the situation but also of its dangers as regards his own standing as an educator and responsible adult. He wants to protect his student, emotionally and physically, but is at a loss as to how to handle his dilemma without causing her further distress. Consequently, he fails to definitively shut down a tricky set of circumstances in good time, allowing to Hibiki to bamboozle him into an awkward bargain in which she asks him if her crush will be "OK" if she manages to score over 90% on the upcoming test. Surprised, Ito laughs and reminds her of her woeful results in the previous midterms. Understanding that she's been turned down, Hibiki nevertheless regards Ito's awkward laughter as a flicker of possibility and continues on in hope.
Had My Teacher continued in the same vein, with Mr. Ito valiantly attempting to guide Hibiki towards a healthier romantic consciousness while remaining mindful of the tenderness of her feelings and the delicacy of the situation as a whole, it might have entered more interesting and less problematic thematic territory. Unfortunately, it remains firmly rooted in shojo romance in which the heroine's innocent desires must be recognised and so Mr. Ito's nobility eventually crumbles as he begins to fall for the "earnest", "awkward" schoolgirl and forgets his "position as a teacher", finally giving in to "temptation" even if he then agrees that the responsibility for his transgression must rest entirely with him. Ito attempts to remove himself from the situation in recognition of the harm he may be causing, but the film won't let him because it needs a resolution that is "romantic" rather than "realistic".
"Realism" rears its head when the inappropriate relationship between the pair is eventually uncovered and Ito hauled before a staff committee to explain himself but the school's understandable decision that he must be summarily fired for gross misconduct is undercut by its presentation as an act of unavoidable tragedy that fails to make a distinction between "genuine feeling" and "abuse of position", conveniently forgetting that in these kinds of cases that is not a distinction that it is useful to make. Chigusa, trying to encourage her friend in her great romance, affirms that there is no one in the world it is not OK to love, which might have some truth in it seeing as love itself is rarely wrong, but there are instances where acting on that love would be and a teacher/student relationship is definitely one of them especially where the student is still a minor.
Indeed, the kids resent the fact that everyone treats them as children but they are, as a similarly exasperated teacher tries to explain to them, not yet adults as exemplified by their consistently self-centred perspectives which prevent them from realising the difficult position in which their decision to air their inappropriate feelings places those whom they claim to love. This dawning realisation is heralded as the pathway to adulthood in finally coming to an acceptance of the individual's place within a community bound by ethical rules and the responsibility one has towards the feelings of others most particularly when they conflict with one's own. It is however undercut by the irresponsible decision to push the innocent romance to its "natural" conclusion even if it has the decency to wait until after graduation until it does so. Ethically questionable as it is, Miki's obvious talents are not in question and his beautifully composed emotionally moving aesthetics are out in force but only serve to emphasise the uncomfortably naive sensibilities of the source material.
International trailer (English subtitles)
Tagged 2010s, 2017, Akiko Yagi, Aoi Morikawa, Japan, Japanese, Kazune Kawahara, Kentaro, Kentaro Ito, Kosuke Yamada, Leo Morimoto, Manami Higa, manga adaptation, manga to movie, Mari Okada, Ryo Ryusei, Suzu Hirose, Takahiro Miki, Toma Ikuta, Tomoya Nakamura
Room Laundering (ルームロンダリング, Kenji Katagiri, 2018) [Fantasia 2018]
Posted on July 21, 2018 by Hayley Scanlon2 Comments
In the olden days, when there had been a traumatic incident, holy people would be brought in to perform some kind of ritual to "purify" the air so life could go back to "normal". These days people don't believe in ghosts, or at least not in ghosts of that kind, but there is still a degree of discomfort involved in spending time in a place where something unpleasant has happened. Japanese rental laws state that a prospective renter/buyer should be informed if something untoward has occurred in the property, but the law only requires you to tell the next person in line. Therefore, if you can find a person willing to spend a few days in an apartment with a troubled past, they could be quite a useful asset to the unscrupulous estate agent.
Miko Yakumo (Elaiza Ikeda) is just such a woman and has therefore found herself falling into a "room laundering" career thanks to her uncle Goro (Joe Odagiri), a roguish real-estate-broker-cum-underworld-fixer with a sideline in fake IDs for undocumented migrants. Miko's father died when she was five, and her mother disappeared without warning a few years later leaving her with her grandmother who died when Miko was 18. She's now 20 and is nominally in her uncle's care but having dealt with so much loss and abandonment, she prefers to keep to herself, always closed off with a pair of headphones blocking her ears, speaking to no one. The apartment "job" therefore suits her well enough with its clear stipulation to avoid mixing with the neighbours, but there's one big drawback. Miko has recently developed the ability to see ghosts which is sometimes a problem given the circumstances her new places of residence became vacant.
A tale of learning to deal with the past, Room Laundering (ルームロンダリング) takes its heroine on some long, strange journeys but despite its death laden themes and Miko's emotional numbness it has its essential warmths even if they're sometimes harder to see. Miko's travels chart a course of modern loneliness as she encounters those who've found themselves passing away alone, in pain and in sadness – old ladies whose bodies weren't found until they'd almost all rotted away, neglected children who starved to death after being abandoned, businessmen who killed themselves after getting into debt, a catalogue of human misery seemingly without end. Miko doesn't find the ghosts scary because she thinks real people are scarier. They lie, and they leave, and they let you down. At least the ghosts will stick around even if you wish they wouldn't.
Even so, interacting with the recently deceased begins to reawaken Miko's sense of vitality. Drinking with (or more accurately on behalf of) an insecure punk rocker (Kiyohiko Shibukawa) who took his own life before sending off his demo tape proves an oddly fulfilling experience for the otherwise introverted young woman, while staying in the apartment of a murdered cosplayer (Kaoru Mitsumune) gives her a sense of purpose when she decides to help the unfortunate woman move on by unmasking the real killer. Meanwhile, she also breaks her non-fraternising rule to chat to the geeky boy next-door (Kentaro Ito) and starts to wonder if maybe not all the living are so bad after all.
In dealing with the legacy of abandonment while literally living a transient life, Miko is forced to confront the ghosts of her past and exorcise them in order to escape her self imposed limbo. Only by being on her own can she reach the realisation that she is not alone. Meanwhile, Uncle Goro's originally shady looking services for migrants without the proper papers begin to look more altruistic than they first seemed. He, like Miko, is helping himself by helping others who are also trapped in a kind of limbo only a more prosaic earthbound one of rigid bureaucracies and xenophobic exploitation. Goro maybe a dodgy estate agent with a sideline in forcing grannies out of their homes to pave the way for "redevelopment" but at least he's found a better system of room laundering than his colleague who generally just rents to foreigners and visa overstayers he can either evict or extort if things go wrong. It just goes to show a little bit of empathy goes a long way. After all, you're a long time dead.
Room Laundering was screened as part of the Fantasia International Film Festival 2018.
Posted in Fantasia International Film Festival 2018, Japan
Tagged 2010s, 2018, Elaiza Ikeda, Eri Watanabe, Fantasia International Film Festival, Fantasia International Film Festival 2018, Japan, Japanese, Joe Odagiri, Kaoru Mitsumune, Kenji Katagiri, Kentaro Ito, Kiyohiko Shibukawa, Miho Tsumiki, Takayuki Kinoshita, Tatsuya Umemoto, Tomorowo Taguchi


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CRS: Reorganization of the Senate: Modern Reform Efforts, October 15, 2003
CRS: Revenue Reconciliation Directives in the FY2004 Budget Resolution, May 7, 2003
CRS: RICO and Abortion Clinic Protests in the Supreme Court: Scheidler v. NOW, March 24, 2003
CRS: Risk Assessment and Regulation in the Federal Government: A Brief Overview, March 13, 2003
CRS: Russia and the Iraq Crisis, April 14, 2003
CRS: Russian Oil and Gas Companies and Central and Eastern Europe, September 23, 2003
CRS: Russias Arrest of Oligarch Mikhail Khodorkovskiy: Background and Implications for U.S. Interests, November 21, 2003
CRS: Russia's Chechnya Conflict: An Update, April 16, 2003
CRS: Saving in the United States: How Has it Changes and Why Is it Important?, January 17, 2003
CRS: Securities Law: Sarbanes-Oxley Act of 2002 and Selected 108th Congress Bills Concerning Corporate Accountability, April 23, 2003
CRS: Senate Committee Party Ratios: 98th-108th Congresses, November 13, 2003
CRS: Services Negotiations in the WTO: An Overview of the U.S. Offer, September 2, 2003
CRS: Severe Acute Respiratory Syndrome (SARS) Public Health Situation and U.S. Response, May 23, 2003
CRS: Severe Acute Respiratory Syndrome (SARS): The International Response, September 8, 2003
CRS: Sexual Discrimination in Employment: Legal Analysis of Title VII of S. 16, the Employment Nondiscrimination Act of 2003, April 15, 2003
CRS: Sexual Offender Registration Acts: Supreme Court Review of the Connecticut and Alaska Statutes in Connecticut Dept. of Public Safety v. Doe and Otte v. Doe, March 24, 2003
CRS: Smallpox: Technical Background on the Disease and Its Potential Role in Terrorism, January 10, 2003
CRS: Smallpox Vaccine Injury Compensation, June 13, 2003
CRS: Smallpox Vaccine Stockpile and Vaccination Policy, January 9, 2003
CRS: Social Security: Bills in the 107th Congress, January 7, 2003
CRS: Social Security Reform: Effect on Benefits and the Federal Budget of Plans Proposed by the Presidents Commission to Strengthen Social Security, July 15, 2003
CRS: South Korean Politics and Rising Anti-Americanism: Implications for U.S. Policy Toward North Korea, May 6, 2003
CRS: Spanish Language Media After the Univision-Hispanic Broadcasting Merger: Brief Overview, October 20, 2003
CRS: Spanish Language Media After the Univision-Hispanic Broadcasting Merger: Issues for Congress, October 20, 2003
CRS: Sports Legislation in the 106th Congress, January 29, 2003
CRS: Sports Legislation in the 108th Congress, December 8, 2003
CRS: State Health Insurance Programs for the Uninsured, January 21, 2003
CRS: State Income Taxation of Military Personnel and United States Citizens Residing Outside of the United States, July 24, 2003
CRS: Stewardship Contracting for Federal Forests, April 10, 2003
CRS: Sufficiency of Signatures on Conference Reports, September 30, 2003
CRS: Summary of Electricity Provisions in the Conference Report on H.R. 6, December 17, 2003
CRS: Superfund: A Summary of the Law, February 24, 2003
CRS: Super-Majority Voting Requirement for Tax Increases: An Overview of Proposals for a Constitutional Amendment, April 23, 2003
CRS: Supplemental Appropriations FY2003: Iraq Conflict, Afghanistan, Global War on Terrorism, and Homeland Security, May 5, 2003
CRS: Surface Transportation and Aviation Extension Legislation: A Historical Perspective, September 23, 2003
CRS: Taxation of Life Insurance Companies, December 24, 2003
CRS: Taxation of Life Insurance Products: Background and Issues, July 18, 2003
CRS: Tax Cuts, the Business Cycle, and Economic Growth: A Macroeconomic Analysis, January 16, 2003
CRS: Taxes and Incentive Stock Options, January 30, 2003
CRS: Tax Rules and Rulings Specifically Applicable to Members of Congress, October 1, 2003
CRS: Tax Subsidies for Expanding Health Insurance Coverage: Selected Policy Issues for the 108th Congress, August 5, 2003
CRS: Tax Treatment of Dividends Under the 2003 Tax Cut: Fact Sheet, June 11, 2003
CRS: Terrorism and the Military's Role in Domestic Crisis Management: Background and Issues for Congress, January 27, 2003
CRS: Terrorist Motivations for Chemical and Biological Weapons Use: Placing the Threat in Context, March 28, 2003
CRS: Terrorists and Suicide Attacks, August 28, 2003
CRS: Textile and Apparel Rules of Origin in International Trade, May 23, 2003
CRS: The African Union, April 30, 2003
CRS: The Air Force KC-767 Lease Proposal: Key Issues for Congress, September 2, 2003
CRS: The Alien Tort Statute: Legislative History and Executive Branch Views, October 2, 2003
CRS: The Al-Jazeera News Network: Opportunity or Challenge for U.S. Foreign Policy in the Middle East?, July 23, 2003
CRS: The American Steel Industry: A Changing Profile, November 10, 2003
CRS: The Argentine Financial Crisis: A Chronology of Events, June 5, 2003
CRS: The Assault Weapons Ban: Legal Challenges and Legislative Issues, September 10, 2003
CRS: The Balance of Payments: Meaning and Significance, April 30, 2003
CRS: The Bill Emerson Humanitarian Trust: Background and Current Issues, April 17, 2003
CRS: The BioWatch Program: Detection of Bioterrorism, November 19, 2003
CRS: The Blue-Slip Process in the Senate Committee on the Judiciary: Background, Issues, and Options, November 21, 2003
CRS: The Budget for the Fiscal Year 2003, November 10, 2003
CRS: The Child Tax Credit After the Economic Growth and Tax Relief Reconciliation Act of 2001, January 30, 2003
CRS: The Commodity Futures Modernization Act of 2000: Derivatives Regulation Reconsidered, January 29, 2003
CRS: The Commodity Futures Modernization Act (P.L. 106-554), February 3, 2003
CRS: The Current Economic Recession: How Long, How Deep, and How Different from the Past?, August 25, 2003
CRS: The Department of Housing and Urban Development: FY2004 Budget, September 22, 2003
CRS: The Effect of the Presidents Dividend Relief Proposal on Corporate Tax Subsidies, March 13, 2003
CRS: The Endangered Species Act: Consideration of Economic Factors, April 15, 2003
CRS: The Endangered Species Act (ESA), Sound Science, and the Courts, July 16, 2003
CRS: The Federal Arbitration Act: Background and Recent Developments, August 15, 2003
CRS: The Federal Bureau of Investigation: Past, Present, and Future, October 2, 2003
CRS: The Federal Fiscal Year, June 13, 2003
CRS: The Financial Crisis in Argentina, June 5, 2003
CRS: Theft of Debris from the Space Shuttle Columbia: Criminal Penalties, June 12, 2003
CRS: The FTO List and Congress: Sanctioning Designated Foreign Terrorist Organizations, October 21, 2003
CRS: The History of the Blue Slip in the Senate Committee on the Judiciary, 1917-Present, October 22, 2003
CRS: The Houses Corrections Calendar, December 4, 2003
CRS: The Individuals with Disabilities Education Act: Paperwork in Special Education, December 18, 2003
CRS: The Intelligence Community and 9,11: Congressional Hearings and the Status of the Investigation, January 16, 2003
CRS: The International Wine Market: Description and Selected Issues, August 7, 2003
CRS: The Jobs and Growth Tax Act (H.R. 2): A Brief Overview of the House Tax-Cut Bill, May 12, 2003
CRS: The Jobs and Growth Tax Relief Reconciliation Act of 2003 and Business Investment, August 13, 2003
CRS: The Jones Act: An Overview, July 8, 2003
CRS: The "Little Davis-Bacon" Acts and State Prevailing Wage Standards, May 28, 2003
CRS: The National Oceanic and Atmospheric Administration (NOAA): A Brief Review of FY2003 Appropriations and the FY2004 Budget, March 13, 2003
CRS: The National Ocean Policy Study: A Model for the Future?, January 22, 2003
CRS: The Natural Resources and Environment Function in the FY2003 Federal Budget: An Overview of Programs and Funding, October 1, 2003
CRS: The New York Stock Exchange: Governance and Market Reform, November 5, 2003
CRS: The Office of Federal Student Aid: The Federal Governments First Performance-Based Organization, October 2, 2003
CRS: The Partnership for a New Generation of Vehicles: Status and Issues, January 22, 2003
CRS: The Randolph-Sheppard Act: Background and Program Data, April 14, 2003
CRS: The Right of Undocumented Alien Children to Basic Education: An Overview of Plyler v. Doe, February 5, 2003
CRS: The Role of the Office of Management and Budget in Budget Development, August 28, 2003
CRS: The Senior Executive Service: Overview and Current Issues, April 9, 2003
CRS: The Streamlined FHA Downpayment Program, May 9, 2003
CRS: The Sudan Peace Process, June 4, 2003
CRS: The Tourism Industry and Economic Issues Affecting It, July 29, 2003
CRS: The United Nations Security Council - Its Role in the Iraq Crisis: A Brief Overview, May 16, 2003
CRS: The University of Michigan Affirmative Action Cases: Racial Diversity in Higher Education, July 15, 2003
CRS: The Vietnam-U.S. Textile Agreement, June 18, 2003
CRS: The WTO Cancun Ministerial, November 6, 2003
CRS: Total Information Awareness Programs: Funding, Composition, and Oversight Issues, March 21, 2003
CRS: Trade Agreements: Requirements for Presidential Consultations, Notices, and Reports to Congress Regarding Negotiations, June 30, 2003
CRS: Trade and the 108th Congress: Major Legislative and Oversight Initiatives, March 11, 2003
CRS: Trade Promotion Authority (Fast-Track Authority for Trade Agreements): Background and Developments in the 107th Congress, April 2, 2003
CRS: Trade Remedies and the U.S.-China Bilateral WTO Accession Agreement, August 4, 2003
CRS: Trade Remedy Law Reform in the 108th Congress, July 22, 2003
CRS: Trends in U.S. Foreign Food Aid, FY1992-FY2002, May 20, 2003
CRS: Turkey: Qualifying Industrial Zones (QIZs)-Issues and Economic Implications, March 12, 2003
CRS: Turkmenistans Attempted Coup: Repercussions and U.S. Concerns, March 7, 2003
CRS: Unemployment Compensation (UC),Unemployment Insurance (UI): Trends and Contributing Factors in UC Benefit Exhaustion, October 10, 2003
CRS: UNESCO Membership: Issues for Congress, November 20, 2003
CRS: United Nations High Commissioner for Refugees (UNHCR), January 3, 2003
CRS: United Nations Relief and Works Agency for Palestine Refugees in the Near East (UNRWA), November 21, 2003
CRS: U.S. Agricultural Biotechnology in Global Markets: An Introduction, June 19, 2003
CRS: U.S. Bilateral Assistance to Russia: 1992-2002, January 16, 2003
CRS: U.S.-European Union Disputes in the World Trade Organization, May 27, 2003
CRS: U.S. Global Health Priorities: USAIDs Global Health FY2003 Budget, March 18, 2003
CRS: U.S. International Refugee Assistance: Issues for Congress, January 3, 2003
CRS: U.S. Military Intervention in Iraq: Some Economic Consequences, May 16, 2003
CRS: U.S. Occupation of Iraq? Issues Raised by Experiences in Japan and Germany, January 30, 2003
CRS: U.S. Tobacco Production, Consumption, and Export Trends, June 3, 2003
CRS: U.S. Trade Policy and Changing Domestic and Foreign Priorities: A Historical Overview, November 3, 2003
CRS: U.S. Use of Preemptive Military Force, April 11, 2003
CRS: Vacancies and Special Elections: 107th Congress, January 17, 2003
CRS: Violence Against Women Office: Its History and Legislative Proposals in the 107th Congress, April 2, 2003
CRS: War Powers Litigation Initiated by Members of Congress Since the Enactment of the War Powers Resolution, March 19, 2003
CRS: Weapons of Mass Destruction Counterproliferation: Legal Issues for Ships and Aircraft, October 1, 2003
CRS: Workplace Codes of Conduct in China and Related Labor Conditions, April 23, 2003
CRS: World Bank: Bujagali Hydropower Project, April 22, 2003
CRS: WTO: Trade Remedies in the Doha Round, September 4, 2003
CRS: Zimbabwe Update, August 15, 2003

redpajama_set_name: RedPajamaCommonCrawl


If you are looking for a new state to live in and you want to enjoy multiple climates, wide open spaces, and outdoor activities, then you might want to consider a move to New Mexico. This state has a lot to offer, including affordable home prices. New Mexico is is growing in popularity, so you might want to get in on it while the real estate prices are still low.
New Mexico is packed with things to do and see. It is steeped in rich history that draws heavily from Native American and Spanish cultures. You will find adobe houses, Native American pueblos, tons of art galleries and amazing food. New Mexican cuisine is incredible. New Mexico is an exciting state to live in.
If you are planning on making the move to New Mexico, you are going to want to make sure that your credit score is up to the task of qualifying you for a loan. Take some time to go over your credit report and if you have to make improvements to your score, make sure that you give yourself enough time for the changes to show up. It might take a few months to get things where you want them to be.
Having a good realtor can make a big difference in your house hunt as well. You want to work with a realtor that has lots of experience and really knows the New Mexico market inside and out. Your realtor is on your side and is going to work hard to get you in the perfect house.
If searching for the loan is starting to feel like too much work then you might want to consider using a mortgage broker. Mortgage brokers can be very helpful and they can help you find a loan with the lowest interest rate that you might not be able to find on your own.
Mortgage brokers take over the entire loan process for you. They will apply for loans on your behalf and follow up with the lenders to get you the lowest interest rate. You can save thousands of dollars over the life of your loan when you use a broker and you will end up with savings that you probably can't get on your own. The broker fee can even be rolled into your mortgage. Making the move to New Mexico can change your life.


text:
Home About Puget Sound Offices & Services
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z View All
Environmental Policy and Decision Making
The Environmental Policy and Decision Making Program is an interdisciplinary minor program designed to help students integrate their major area of study with an understanding of how individual and collective decisions interact with the environment.
Wyatt 333, 253.879.2862
The mission of the Department of Exercise Science is to deliver a program that applies the scientific foundations of human movement to help graduates understand the complex relationships among work, physical activity, health, and realizing human potential.
Weyerhaeuser 325, 253.879.2894
Experiential Learning at Puget Sound
Our expectation and aspiration is that every student who graduates from Puget Sound will have developed a coherent experience that builds and integrates a meaningful set of experiential learning activities in preparation for a successful and fulfilling personal, civic, and professional life.
Jones 012, 253.879.3332, explearn@pugetsound.edu
Operation, maintenance, repair, and construction/renovation of campus facilities.
Facilities Complex, 253.879.3713, workorders@pugetsound.edu
External scholarships, fellowships, and other special support for postgraduate travel, research, and study.
Howarth 114J, 253.879.3329, fellowships@pugetsound.edu
Finance & Administration, Office of
Encompasses the Office of Finance, Business Services, Facilities Services, Human Resources, and Technology Services, and is led by the Vice President for Finance & Administration.
Jones 107, 253.879.3204, lljohnson@pugetsound.edu
Finance, Office of
Payment processing (accounts payable), accounting, budgeting, tax, analytical, and financial reporting services.
Jones 018, 253.879.3224 finance@pugetsound.edu
Coordinates student applications for financial assistance, including scholarships, loans, and student employment.
Jones 019, 253.879.3214, 800.396.7192, sfs@pugetsound.edu
Foreign Languages & Literature
See French Studies, German Studies, Hispanic Studies, and Latina/o Studies.
The French Studies Department offers distinct majors that combine the study of language, culture and literature with international affairs, communications, music, theater and art, as well as a minor.
Wyatt 233, 253.879.3186, rsizerwilliams@pugetsound.edu
As the home to one of the nation's first Women's Studies programs, the University of Puget Sound has a long tradition of exploring issues pertaining to gender and sexuality. The current Gender Studies program enriches and expands the college's curriculum by illuminating the ways in which gender and multiple other converging axes of identity frame every aspect of life.
The Geology Department at Puget Sound consists of five faculty members and roughly 25 majors. Our size enables us to offer a broad spectrum of classes while at the same time maintaining a close-knit and collegial learning environment.
Thompson 117, 253.879.3814, llevenson@pugetsound.edu
n the age of globalization, the cultural experience of the migrant is defining more and more what it means to be human. This is why the German Studies faculty believes that sustained immersion in a different culture is essential to a modern education, regardless of major.
Provides resources to assist in procuring grant funds to support research, programs, projects, and initiatives to achieve the university's mission.
Jones 219, 253.879.3610, jkenyon@pugetsound.edu
Eight fraternities and sororities in which students may participate.
3209 N. 15th St., 253.879.3317, greeklife@pugetsound.edu


HSN Community / Forums / Customer Service / Origami Bookshelf. Can wheels be put on it?
Origami Bookshelf. Can wheels be put on it?
Can wheels be put on the Origami Bookshelf?
, 496-608 comes with leveling feet for stability. Please post the item # you're interested in and I'll check for you.
Hello , I'll send you a Private Message shortly with information about your orders.


At The Trademan we specialise in the design and installation of quality Stratco Outback verandahs, pergolas, patios, carports, timber decking and Ziptrak blinds. We're also one of only a handful of authorised Pavilion builders in Adelaide. We offer personalised service and you can have peace of mind knowing we're fully licensed and insured and for more than ten years have proudly built thousands of projects for Adelaide home owners.
We hope you enjoy exploring our product range, please feel free to give us a call if you require more information or would like to arrange a free no obligation in home design and quote.
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Stunning alfresco areas featuring insulated roofing, large composite beams and posts and integrated blinds and lighting.
Protect your car, caravan or boat with a carport individually designed to suit your home and budget.
Our steel frame pergolas allow you to enjoy the style of a traditional timber pergola without the ongoing maintenance.
Single, double or even triple car garages and sheds in flat roof and gable roof styles. Choose from a huge range of sizes.
Our Ziptrak blinds will protect you from the sun, wind and rain letting you enjoy your outdoor entertaining area year round.