As Australia’s 17th Japanese Film Festival is begins its last city tour in Melbourne, the capital of the southern state of Victoria, Eden Law (Fukushima-ken ALT 2010-2011, current JETAA NSW committee member) reviews some of what is on offer. Stay tune for more reviews!
Everyone’s feeling somewhat uncomfortable now.
Okay, so what would you think if I told you that Maruyama, the main character in this film, spends most of the film trying to touch tongue to his own peen? A certain expectation will be set, wouldn’t it? Like, there wouldn’t be much else to expect from the plot except whether that lollypop gets licked. So it’s pleasantly surprising to find that it’s actually less like a string of dick jokes (unlike this review), and more of an endearingly quirky film.
Our hero with a quest, Maruyama, is a hormonal 14-year-old with a rather active imagination, frequently dreaming up imagined lives for his family and residents of his apartment complex. We’re taken through his daydreams, which range from randy fantasies filled with bouncy ladies, to colourful scenarios that get sillier and funnier as he imagines various people being either wacky fruit-themed superheroes, scissor-wielding gangsters or aliens. But Maruyama decides that he needs a hobby to distract him from such childish preoccupations, one that will bring focus and maturity – like attempting to orally do one’s own dong. However, he later befriends a dorky, uncharismatic single father, Shimoi (played with surprising ability by Tsuyoshi Kusanagi, a member of the ageless Japanese boy band SMAP), who encourages him to embrace his fantasies. Real life can be more strange than any fantasy, and a bit of strangeness is nothing to be ashamed of, but celebrated.
Maruyama’s world is undeniably ridiculous and entertaining (and sometimes sticky) as the imagination of a teen could be. And despite Maruyama’s overarching ambition to boldly try what many men have tried before (and failed, and the few that do make a career out of it), a sweet, innocent quality exists, thanks to director Kankuro Kudo’s affectionate treatment of him and all the eccentric and flawed characters that populate the neighbourhood. It’s quite an accomplishment that “Maruyama” manages to build a more substantial film on such an unlikely basis, and it results in a film that’s like a funnier combination of a Wes Andersen and Michel Gondry movie. Hiraoka Takuma, being close to the age of the character Maruyama that he plays, embodies the innocence and determined Maruyama well, shining with youthful enthusiasm, embarrassment and determination as he takes his character from zero to hero. The whole ensemble cast is perfect in their various roles, obviously having a lot of fun, from Kenji Endo’s geriatric grandfather with a surprising ability, and Maki Sakai as Maruyama’s Korean drama-obsessed mother.
It’s hard for any film to sustain the initial novelty of the first half right to the end, and “Maruyama” suffers the same problem as it gets a bit flaccid towards the end. However, the film still climaxes in a satisfactory way that, while lacking in the same vigor and energy of the start, manages to tie up all the plot threads and situations. While “Maruyama’s” length is a bit too long for comfort, overall, it charms with its humor and originality – not bad for a film that started off with auto-fellatio.
Maruyama the Middle Schooler (Chuugakusei Maruyama) by Kankuro Kudo, released in Japan April 21 2013, starring Tsuyoshi Kusanagi, Hiraoka Takuma, Kenji Endo, Yang Ik-June, Maki Sakai, Toru Nakamura, Nanami Nabemoto, Yuiko Kariya
“Reunion” – Film Review from Australia’s 17th Japanese Film Festival
Earthquake Tsunami, Film, Japan Fix, Reviews 
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Australia’s 17th Japanese Film Festival is soon embarking on its last city tour in Melbourne, the capital of the southern state of Victoria, after being shown around Australia in the first ever national film festival administered by the Japan Foundation. Eden Law (Fukushima-ken ALT 2010-2011, current JETAA NSW committee member) got to see some of what’s on offer during its recent run in Sydney. This one’s for you, Melbournites! Don’t say we don’t do anything for you south of the border.
If you can’t feel anything watching this, you are probably dead inside.
It has been almost three years since the disaster that devastated the north of Japan. There have since been a handful of films on the event, on the nation and it’s people as they resolutely look forward to “revival” and reconstruction. However, few of those films, I suspect, would have dealt quite so starkly and closely on the subject of death quite like “Reunion”.
“Reunion” is a dramatization of Itai: Shinsai, Tsunami no Hate ni (遺体―震災、津波の果てに?, “The Bodies at the End of the Earthquake and Tsunami”), a reportage of the events by Kota Ishii in the days immediately following the earthquake and tsunami of March 11. A brief snapshot of the normal, mundane lives around town in the beginning, contrasts sharply the aftermath, showing how unprepared and ill-equipped the small town’s public servants were, as bodies kept coming into the temporary morgue set up in the old high school gymnasium, and distraught relatives plead for information and support. Horrified by the disorganization and haphazard treatment of the dead, Aiba (played by Toshiyuki Nishida), a retired funeral home director, volunteers to oversee the proper administration of the morgue. He shows the exhausted and numbed workers how to massage limbs stiffened by rigor mortis until they became pliant again for proper positioning, and how to counsel and deal with the grieving and traumatized people who come to identify the deceased. And slowly, people carry on with their jobs, because there is very little other choice.
This will be the most heart-breaking film you’ll ever watch this year. I’ve never cried at the movies before (if there’s anybody watching), but looks like there’s the first time for everything. While the subject matter itself is undeniably powerful and emotional, “Reunion” is actually quite simple, a recounting of the events and the personal tragedies of those who survived. Music is used sparingly in this film, the silence heightening the solemnity and noises that included the constant squelching of the mud-logged boots and the sobs of the bereaved, background sounds as described in the book. Director Ryoichi Kimizuka makes sure that the deceased is an all-pervasive presence, as the cast of characters work with them and around them, uncovering their blackened swollen faces, identifying them and saying prayers for their souls. Thanks to Aiba’s character, not only are the workers brought around to empathise with the dead, as their names and personal stories are revealed, but the audience also becomes involved. Little wonder then, that at many events where this film has been screened, audiences have been emotionally devastated.
In this film where multiple stories and tragedies play out, the cast work marvellously well together. There are very little histrionics or hysteria, just numbed helplessness, as many at first wander confusedly about before being given direction by Aiba. Performances are muted and restrained, which make the break-down moments even more heart-wrenching, for everyone has their trigger, be it the discovery of a loved one’s body while carrying out work, or the tragedy of a young child, unclaimed by any surviving relatives. There are no questions of morality, no “why did this happen to us”, soul-searching, condemnation or religious debate to be had that can be adequate. From Aiba’s point of view however, the answer is to never forget one’s humanity, which can be even more precious than food, in order to survive the unrelenting horror and sorrow of the situation. And that in the end, ultimately provides a glimmer of positivity in this film, as well as in life.
Reunion (Itai: Shinsai, Tsunami no Hate ni) by Ryoichi Kimizuka, released in Japan February 23 2013, starring Toshiyuki Nishida, Naoto Ogata, Ryo Katsuji, Jun Kunimura, Wakana Sakai, Tsuneo Aiba, Kenichi Domon, Yuta Oikawa, Yoshito Shibata, Takae Oshita, Koichi Sato, Shiro Sano, Ikki Sawamura, Mirai Shida, Michitaka Tsutsui, Michio Shimoizumi, Takeshi Yamaguchi, Nobutsugu Matsuda, Yuko Terui, Daisuke Hiraga, Toshiro Yanagiba
“Brain Man” – Film Review from Australia’s Japanese Film Festival
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Australia’s 17th Japanese Film Festival is soon embarking on its last city tour in Melbourne, the capital of the southern state of Victoria, after being shown around Australia in the first ever national film festival administered by the Japan Foundation. Eden Law (Fukushima-ken ALT 2010-2011, current JETAA NSW committee member) got to see some of what’s on offer during its recent run in Sydney. This one’s for you, Melbournites! Don’t say we don’t do anything for you south of the border.
Doumo arigatou Mr Roboto
At times graphically brutal and sadistic, “Brain Man” moves at a brisk pace, frequently keeping the audience off-balance with unsettling scenes and stylistic ideas that are reminiscent of other films in the genre. An adaptation of the novel “No Otoko” by Urio Shudo, the novel itself won the 2000 Edogawa Rampo Award for newcomers to crime fiction. In it, a series of sadistic murders and explosions pressures the police lead by Detective Chaya (Yosuke Eguchi, who must be channelling every crusty, grouchy detective character ever to exist in film) to find the culprits responsible, and soon enough Ichiro (Toma Ikuta) is apprehended as the prime suspect. However, things are rather decidedly odd about Ichiro, who is more like a robot than a human, going like clockwork to… go, unable to feel pain or emotion. Although in peak physical condition (via an establishing shot as the camera lingers over Toma’s skinny yet hard-bodied torso, which is itself inhumanly bereft of fat), he is clearly a special psychiatric case, which is where Dr Washiya (Yasuko Matsuyuki), a brilliant psychiatrist, comes in to help with police investigation. Although like other characters in the film, she herself carries a trauma, that fuels her determination to investigate and uncover the truth about Ichiro, and ultimately the case.
This film calls for a certain suspension of disbelief – probably more than usual, with the number of implausibilities it has. This is not a film that is completely grounded in reality, even given the premise of a serial-bomber-Saw-wannabe and a man-bot. However, that’s not to say it’s done badly. Director Tomoyuki Takimoto excels at creating a tense, unsettling atmosphere, typically using lots of dark cold colours that’s grim and claustrophobic, even in the day scenes. There are unexpected shocks punctuating the film at a brisk pace, creating a sense of dangerous unpredictability for the characters. Takimoto doesn’t shy away from being graphic either, what with body parts being ripped, stabbed, shredded or sliced merrily in some form or another, in sadistically creative ways. Some of the characters and baddies are suitably over the top (especially Fumi Nikaido and Rina Ohta as Noriko and Yuria, in deliciously scenery-chewing performances), though are a little obscure in their motivation. But whatever man, they’re totes cray-cray – who can understand why they do the things they do.
But that sort of unreality element can work against it, especially when the film, in the form of Dr Washiya, seems to be exploring more serious and unexpectedly philosophical issues: can a person be rehabilitated, or their basic nature changed? In the beginning of the film, Dr Washiya advocates a new form of “narrative” therapy to habilitate hardened criminals, contrary to the accepted methods of the establishment. It’s a theme that surfaces once in a while throughout the film, although largely overwhelmed by the more exciting and visceral violence and terror. But during those moments, Matsuyuki (as the doctor) does really well in giving her character the right mix of toughness and vulnerability, and her interaction with a “cured” patient, brings a totally different kind of disturbing creepiness thanks in no small part to Shota Sometani who plays Shimura, the patient in question. But these differences seem out of place in a film that’s usually more thrills and spills, in a world where a grizzled no-nonsense detective has long hair and the living coin-operated boy somehow has access to a great hair stylist and chic clothes.
However, as mentioned, “Brain Man” is still done well and is highly enjoyable to watch, especially if you’re a fan of the thriller/crime/mystery genre. As Ichiro, Toma Ikuta’s highly restrained acting, communicating only through subtle body language and stares, is quite absorbing. And “Brain Man” manages to deliver right to the end, as a final emotional shock is revealed.
PS: Bonus points for the ending credit song: “21st Century Schizoid Man” by King Crimson!
Brain Man (No Otoko) by Tomoyuki Takimoto, released in Japan February 9 2013, starring Toma Ikuta, Yasuko Matsuyuki, Yosuke Iguchi, Fumi Nikaido and Rina Ohta.
JQ Magazine: JETAA USA Earthquake Relief Fund Aids Recovery
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Taylor Anderson Memorial Fund founder Andy Anderson (center) with members of the JET Alumni Association of New York at Columbia University, Oct. 30, 2013. (Courtesy of JETAA New York)
By C-M Daeley (Saga-ken, 2008-2011) for JQ magazine. C-M is a poet, rap lyricist, and travel enthusiast currently working as an English teacher in Tokyo. For a look at some of his other writing, poetry and lyrics, check out his blog at http://spikedaeley.wordpress.com.
With today’s 24-hour global news cycle, it is sometimes difficult to keep even the most severe events in public memory. The Great East Japan Earthquake that struck on March 11, 2011 has not received much recent coverage in global news, but the issues faced by those still rebuilding remain monumental. Fortunately, there has been significant international aid from a number of sources, one of which is the JETAA USA Earthquake Relief Fund. This grant has raised almost USD $90,000 and has been used to provide seed funding to assist grassroots programs in areas severely impacted by the earthquake.
Due to the complex nature of fund allocation, this article will focus mainly on projects and programs directly supported through JETAA funds. However, it is significant to note that the Earthquake Relief Fund was only one of several avenues used to bring aid to the region and that, to date, roughly $500,000 has been raised through JET-affiliated groups and organizations worldwide. Jim Gannon (Ehime-Ken, 1992-94), current executive director at the Japan Center for International Exchange in New York, and Jessyca Livingston (Hokkaido, 2003-06), one of the three JETAA USA Country Representatives serving during the immediate aftermath and current JET Program coordinator at the Consulate-General of Japan in Denver, spoke about some of the initiatives the Earthquake Relief Fund has helped support.
“It is very difficult to give a concise yet comprehensive picture of what the JETAA funds have done,” Gannon explained. “The best way to describe it is that they have played a catalytic role in supporting some key projects in the early stage that have been supported by a range of others in more generous fashion once they proved their merits. JETAA cannot take full credit for all of the successes, but it did play an important role in getting things moving.” He also noted, “The real heroes are these incredible people from Tohoku who have championed these projects, the inspirational young people who have relocated to Tohoku to help operate them, and those who have been shuttling back and forth from Tokyo and elsewhere to help formulate and drive these initiatives.”
After a national discussion and several rounds of voting in each of JETAA USA’s 19 chapters, a final decision was made about how the fund should be allocated. “In the end, it was very obvious that chapters found it important to support education-related efforts in those areas most affected,” Livingston said.
“The Wind Rises is a combination of everything that makes Studio Ghibli as we know it today. It also adds several new elements which make this film dynamic and, some say, controversial.” (Touchstone Pictures)
By Alexis Agliano Sanborn (Shimane-ken, 2009-11) for JQ magazine. Alexis is a graduate of Harvard University’s Regional Studies—East Asia (RSEA) program, and currently works as an executive assistant at Asia Society in New York City.
Written and directed by Hayao Miyazaki, The Wind Rises is like no Studio Ghibli movie I have ever seen. No. Wait. It’s like every Ghibli movie I have ever seen. You want fantasy? You got it. You want airships à la Castle in the Sky or Nausicaä of the Valley of the Wind? You got it. You want deliciously portrayed food? You want nostalgic scenery from bygone days of Tokyo or picturesque European towns? You got that, too. The Wind Rises is a combination of everything that makes Ghibli as we know it today. It also adds several new elements which make this film dynamic and, some say, controversial.
One of the most differentiating factors is that The Wind Rises is the only full-length feature to focus on an actual historical figure—Jiro Horikoshi, the designer of the Mitsubishi A5M, a fighter aircraft of World War II. Granted, Miyazaki used his artistic license to embellish the narrative—but he does that only to make things more beautiful and fantastical. (And that’s why we love Miyazaki, right?)
Watching The Wind Rises, you feel repeatedly—and indeed the entire plot more or less focuses on—Japan’s desperation to achieve modernity according to “Western standards.” But modernization was not a smooth road, and Miyazaki makes that message clear. Despite the beautiful veneer, the crux of this film lies in the frustration of a country and its people. Economic deflation, poverty, and limited resources repeatedly arise as roadblocks. (This may explain part of the reason for its amazing popularity in Japan. Frustrations, impatience and desperation exist within every generation.) Yet, as Jiro is reminded, even with setbacks and disappointments, one must live on and progress despite it all.
JQ Magazine: Australia Unfolds Its 17th Japanese Film Festival
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The new Dragon Ball Z: Battle of Gods hits six cities in Australia as part of its 17th Japanese Film Festival continuing in October through December. (Dragon Ball Z Production Committee)
By Eden Law (Fukushima-ken, 2010-11). After the JET Programme more than fulfilled its promise of “an experience of a lifetime,” Eden returned to Sydney, Australia, where he joined the JETAA New South Wales chapter to take advantage of the network and connections available to undertake projects such as an uchiwa design competition for the Sydney Japan Festival. He also maintains the JETAANSW website and social media. Other than that, he’s a web designer and a poet, gentlemen and raconteur.
Like a springtime wave of hanami Down Under, the 17th Japanese Film Festival began showing in staggered releases nationally in Australia, blooming first in Broome in late September, before displaying a full bouquet of film delights in the major metropolitan areas of Sydney and Melbourne. This is the first time that the festival has launched a national program, ranging from a mini ensemble of three films for small towns like Broome and Cairns, to a behemoth 33 new films and five classics in major cities like Melbourne and Sydney, which means the festival will run from 17 Sep to 8 Dec as it tours around Australia. Many of the new films will be shown for the first time in Australia (aw, you spoil us, Japan Foundation, you really do!). In addition, at this time of writing, the five classics will be shown for free, allowing even the most penniless hipster to get a gander and drop a casual mention at the right fashionable dinner parties.
With so many new films, many of which aren’t known outside of Japan (trust me, I’ve Googled this), how will you know which to watch and be informed like the sophisticate that you no doubt are? Well, for a start, check out the screening schedules for all the films in your (nearest) city. But fret not, gentle reader, for I shall explore some of the selections on show.
Based on a True Story
Documentaries and dramatisations based on true stories feature strongly in this year’s program. A Boy Called H, which won Special Prize at the Moscow International Film Festival 2013, is based on Kappa Senoh’s best-selling autobiography about growing up in World War II-era Kobe. Closing some of the larger programs, Fruits of Faith is based on a novel inspired by a true story of a fruit grower who tries to achieve the impossible dream of the perfect crop of organic apples, despite skepticism and threat of bankruptcy. Reunion, based on a journalist’s accounts, is an illustration of how individuals strive to retain their humanity and compassion in the face of unrelenting misery and death in the wake of the Tohoku disaster. Leaving no eye dry at last year’s Montreal Film Festival, it’s a good way to see if life has yet to crush all feelings out of your bitter husk. And for anyone who has ever treasured a truly good bowl of ramen (especially after a long night of clubbing in Tokyo—the Japanese equivalent to our 4 a.m. kebab), the documentary The God of Ramen will inspire not just food lovers, but anyone who’s ever had an all-consuming (hah!) passion.
JQ Magazine Seeks Writers for Fall 2013!
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Visit JQ magazine online at http://jetaany.org/magazine.
As we head into fall, JETAA New York’s JQ magazine continues to provide content with an ever-expanding array of articles, interviews and features (see our recent stories here). We’re now looking for new writers, including recent returnees and JET vets, from all JETAA chapters worldwide for posting stories via our host at the global JET alumni resource site JETwit.com. (Scribes are also encouraged to join the JET Alumni Writers group on LinkedIn.)
Below are story ideas grouped by JET participants and alumni (JET World) and those more on Japanese culture (Japan World). And if you’re a JET or JETWit contributor from anywhere in the world with a story idea of your own, let us know!
Click “Read More” below for our fall 2013 ideas pitch package, and contact JQ editor Justin Tedaldi (magazine [at] jetaany [dot] org) to sign up for stories.
Now, JQ is looking for additional help behind the scenes! Our editor (celebrating his fifth anniversary at the helm in November) is seeking a capable assistant to help with the posting, social media sharing and story assigning across all JETAA chapters. If you’re a wiz with WordPress, Facebook and Twitter, and enjoy all forms of Japanese arts, events and media, reach out to Justin. Thanks and yoroshiku!
Justin’s Japan: Nippon in New York — Martial Arts, Hayao Miyazaki and ‘Evangelion’ at Comic Con
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The Wind Rises, the latest film from director Hayao Miyazaki, has its U.S. premiere at New York’s Alice Tully Hall Sept. 28. (Studio Ghibli)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his Japanese culture page here for related stories.
Saturday, Sept. 28, 3:00 p.m.
All American Open International Karate Championships
Hunter College Sportsplex, 68th Street and Lexington Avenue
$30 general admission/$65 RES floor/$80 VIP ringside
Get your kicks at this annual event presented by Kyokushin Karate New York, the original and world renowned full-contact knockdown karate style founded in 1953 by Grandmaster Mas Oyama. The All American Open consistently brings the world’s best karate fighters to compete for the amateur athletic championship title. Scheduled fighters Include 2012 All American Open champion Zahari Damyanov, Women’s World Middleweight champion Julie Lamarre, and Men’s World Heavyweight champion Alejandro Navarro.
Sept. 28 & Oct. 4
Alice Tully Hall, 1941 Broadway
$13
U.S. premiere! As part of the 51st New York Film Festival, the great Japanese animator Hayao Miyazaki’s new (and reportedly final) Studio Ghibli film is based on the life of Jiro Horikoshi, the man who designed the Zero fighter operated by the Imperial Japanese Navy from 1940 to 1945. An elliptical historical narrative, The Wind Rises is also a visionary cinematic poem about the fragility of humanity, starring the voice of Neon Genesis Evangelion director Hideaki Anno! Presented in Japanese with English subtitles.
Sept. 29, 5:00 p.m.
Rainbow Bubble Girls Open Audition as Talent Contest
Maid Cafe NY, 150 Centre Street
Free
Girl group Rainbow Bubble, an international all-girl idol group based in New York, is now looking for new members who can sing in different languages and dance. This current contest (which precludes semi-finals and finals to come) offers a top prize valued at $500 and a chance to receive an exclusive artist contract! Click here for contest rules and email StarGenerationsINC@gmail.com to pre-register.
For the complete story, click here.
JQ Magazine: DVD Review – ‘From Up on Poppy Hill’
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“Studio Ghibli films are known for their fantastical animation and surrealistic landscapes. However, Poppy Hill lacks one other crucial element common to Ghibili films: an emotional depth of feeling.” (GKIDS)
By Lyle Sylvander (Yokohama-shi, 2001-02) for JQ magazine. Lyle is entering a master’s program at the School of International and Public Affairs at Columbia University (MIA 2013) and has been writing for the JET Alumni Association since 2004. He is also the goalkeeper for FC Japan, a New York City-based soccer team.
From Up on Poppy Hill is the latest film to be released from Japan’s famed Studio Ghibli. Unlike its more prominent titles, this one is not directed by studio founder Hayao Miyazaki (Spirited Away, Howl’s Moving Castle) but rather by his son Goro Miyazaki. The father did, however, co-write the script (with Keiko Niwa), which was adapted from a manga published in the 1980s. Goro’s first film, Tales from Earthsea, was a commercial hit but received a very negative reception, even receiving “Worst Director” and “Worst Picture” designations from the Bunshun Raspberry Awards, given annually to the worst in cinema by the Bungeishunju Publishing Company. From Up on Poppy Hill received a much better reception (although many reviews were mixed) and became the highest grossing Japanese film of 2011 and won the 2012 Japan Academy Prize for Animation of the Year.
The story takes place in Yokohama in 1963, a pivotal point in Japan’s history as the country was preparing for the 1964 Tokyo Olympics. The nation was on the economic upswing and the Olympics were meant to showcase the “new” Japan as it pushed its postwar ruin firmly into the past. Within this context, Poppy Hill tells two stories, both of which deal with historical consciousness. The first concerns a high school student named Umi, who lives and works in her family’s boarding house. Her father was lost at sea during the Korean War and Umi flies nautical flags daily from her house in order to wish peace upon all sailors. The second story concerns a clubhouse (named the Latin Quarter), which has been slated for demolition to make way for an Olympics-related building. The building is adjacent to Umi’s high school and she meets Shun, the leader of the clubhouse, who also happens to have been decoding her nautical flags each morning. Umi leads an effort to clean up the clubhouse and soon starts to fall in love with Shun.
Justin’s Japan: Nippon in New York – Heritage at Citi Field, Hatsune Miku and the Joy of Sake
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The Japanese Folk Dance Institute of New York will perform at Citi Field’s fourth annual Japanese Heritage Night Aug. 28. (Courtesy of blog.janm.org)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his Japanese culture page here for related stories.
As the summer winds fade to fall colors, the weeks ahead are shaping up with these exciting events, ready to be enjoyed both before and after Labor Day.
This month’s highlights include:
Wednesday, Aug. 28, 6:30 p.m.
New York Mets Fourth Annual Japanese Heritage Night
Citi Field, 123-01 Roosevelt Ave.
$23 Promenade Reserved/$37 Pepsi Porch/$63 Baseline Box Silver
Watch the Mets take on the Philadelphia Phillies with a special Japanese Heritage Night pre-game show featuring the Japanese Folk Dance Institute of New York, the Japanese Men’s Choir, taiko and fue master Kaoru Watanabe, and the Spirit Award presentations to important members of the community. Look for fun Japanese activities and games throughout the evening at the special Japanese Heritage Night tables! A portion of the proceeds of all ticket sales made through the special JHN ticket window and through online sales will be given to the Japanese American Association’s Committee on Aging Issues.
Saturday, Aug. 31, 2:00 p.m.
Hatsune Miku Magical Mirai 2013 premiere
Anthology Film Archives, 32 Second Avenue
$20 general admission
In Japan, Hatsune Miku is a phenomenally successful virtual idol that grew out of fan-created songs. With a name meaning “first sound of the future,” she is based on an innovative singing synthesizer software character. This special theatrical release—her first in the U.S. in nearly two years—celebrates the pop Vocaloid’s sixth birthday of by capturing a special commemorative live concert at the Yokohama Area simulcast in both New York and Los Angeles. (For this Examiner’s review of Miku’s previous live film screening in Times Square, click here.)
Sunday, Sept. 1, 5:30 p.m.
J-Summit New York Benefit Concert
The Bowery Electric, 327 Bowery
$15 advance/$18 day of show
Offering a welcoming environment to enjoy music, dance, performance and fashion for all fans and artists, j-Summit New York has created a community focused on the connections and cultural exchanges between New York and Japan through electrifying events. Proceeds for this special benefit concert will contribute to the 2011 earthquake and tsunami relief fund. Bands for the night include Aki, Lust, Red, Iri, Nicole Oliva, Nafsi Groove, and Yuri Bear.
For the complete story, click here.
WIT Life #247: Takao Osawa bonanza!
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WIT Life is a periodic series written by professional Writer/Interpreter/Translator Stacy Smith (Kumamoto-ken CIR, 2000-03). She starts her day by watching Fujisankei’s newscast in Japanese, and here she shares some of the interesting tidbits and trends along with her own observations.
Two of Japan’s best current actors, Tatsuya Fujiwara and Takashi Osawa, in Takashi Miike’s Shield of Straw
I’m interpreting for a client in L.A. this week, and on the cross-country flight I had the chance to watch two interesting Japanese movies that were just released this year, making the long journey pass by much more quickly (Thank you Delta!). They both starred one of my favorite Japanese actors, the always かっこいい Takao Osawa. In this blog I have mentioned his appearances in other films, such as in 終の信託 (Tsui no Shintaku or A Terminal Trust) as the intimidating prosecutor. Osawa’s work never disappoints, and even though these particular movies were not necessarily of a genre I would usually opt to watch, he made sticking with them to the end worth it.
The first film was 藁の楯 (Wara no Tate or Shield of Straw), directed by the legendary Takashi Miike and based on the eponymous book by Kazuhiro Kiuchi. It features another one of my favorite performers, the fabulous Tatsuya Fujiwara who I recently highlighted from the film I’M FLASH! which debuted at this year’s Japan Society Japan Cuts film festival. Fujiwara plays a serial killer named Kiyomaru who targets young children, and Osawa is in the role of one of the Special Police assigned to safely escort him from Fukuoka to Tokyo (with Nanako Matsushima as his cracker jack partner). The grandfather of Kiyomaru’s most recent victim offers 1 billion yen to Read More
JQ Magazine: Film Review – ‘Cutie and the Boxer’ Pairs Sparring Partners in Life, Art
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“Director Zachary Heinzerling spent five years with the Shinoharas in the making of his movie, and it has been recognized with critical praise and honors including the U.S. Documentary Directing Award at this year’s Sundance Film Festival.” (RADiUS-TWC)
By Stacy Smith (Kumamoto-ken CIR, 2000-03) for JQ magazine. Stacy is a professional Japanese writer/interpreter/translator. She starts her day by watching Fujisankei’s newscast in Japanese, and shares some of the interesting tidbits and trends together with her own observations in the periodic series WITLife.
Director Zachary Heinzerling’s debut documentary is the captivating Cutie and the Boxer, which follows two New York-based Japanese artists who have been married for over 40 years. It stars Ushio and Noriko Shinohara, a couple separated in age by two decades who have a truly unique union. They alternately bicker and support each other, but you get the sense that their respective existences are necessary for the other to survive. As wife Noriko puts it, “We are like two flowers in one pot,” meaning that when things are going well they are essential for each other’s flourishing, but when things are not they are fighting over limited space and nourishment.
Ushio (a.k.a. Gyu-chan) is an artist who was active in the avant-garde art movement, and is known for his boxing paintings and motorcycle sculptures. He achieved great fame in Tokyo before moving to New York to test his skills in the States. He was 40 at the time he met Noriko, who was 19 and had come to New York to study art. Things happened quickly between them, and soon they were married with a son, Alex. Noriko put aside her artistic aspirations to help Ushio in his career and raise Alex, thus curbing the potential for her own success.
Meanwhile, Ushio was floundering in building a name for himself as an artist in his new country. Despite the fact that he had become a father, he didn’t want to move beyond his old ways of drinking with friends and discussing philosophies regarding art. One of the most poignant and candid scenes in the film is when Ushio becomes quite drunk at one of these gatherings and emotionally describes both the pain and sublime pleasure he receives from creating art, saying that he would rather die than do anything else with this life. It is one of the film’s truly heartbreaking and inspiring moments.
Justin’s Japan: Nippon in New York — Karaoke Networking, Poisson Piano and ‘Cutie and the Boxer’
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The award-winning documentary Cutie and the Boxer premieres at Lincoln Plaza Cinema and Landmark Sunshine Cinema Aug. 16. (RADiUS-TWC)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his Japanese culture page here for related stories.
In the dog days of summer, it’s best to escape the heat in a place that’s cozy and cool. For those into Japanese cultural events, this month offers a diverse selection of music, film premieres and parties—all in the comfort of indoor air conditioning.
This month’s highlights include:
Thursday, Aug. 1, 7:30 p.m.
Young Professionals 2nd Annual Midsummer Matsuri and Karaoke Party
Japan Society, 333 East 47th Street
$10 for corporate and individual members, $15 for non-members
Japan Society’s Young Professionals events provide the opportunity for emerging business leaders from the U.S. and Japan (aged 25-45) to meet people with similar interests, experience programming on timely topics, and network with their peers. Attendees are invited to join for a night of networking, singing, eating and drinking featuring singer and Japanese TV personality Alex York as MC! Yukata and other summer attire are welcome, and admission includes light Japanese food and one drink ticket, cash bar thereafter. Space is limited; for advance registration email youngpro@japansociety.org or call 212-715-1219.
Saturday, Aug. 3, 7:00 p.m.
Asia Society, 725 Park Avenue
$35 members/students/seniors, $40 nonmembers
As part of the closing night presentation of the 36th Asian American International Film Festival, this screening of Our Homeland includes a Q&A with the director followed by an awards ceremony and gala reception featuring chef’s tasting tables and open bar with specialty cocktails sponsored by Rémy Martin. Sent decades ago as a child to North Korea under a repatriation program, Sungho returns to Japan for a temporary medical visit. A wrenching human drama unfolds as his family grapples with why he was ever let go. Under the constant surveillance by an accompanying North Korean official, Sungho and his family reunite again in this sensitive tale inspired by Korean-Japanese director Yang Yonghi’s true family story. Capturing the tender feelings of separation, memory, and belonging, the film also provides a rare glimpse into the life of ethnic Koreans in Japan. Presented in Japanese and Korean with English subtitles.
Friday, Aug. 16
Lincoln Plaza Cinema and Landmark Sunshine Cinema
$13, $13.50
Winner of the Directing Award for U.S. Documentary at the 2013 Sundance Film Festival and a hit at film festivals around the world, this candid New York story explores the chaotic 40-year marriage of renowned “boxing” painter Ushio Shinohara and his artist wife, Noriko. As a rowdy, confrontational young artist in Tokyo, Ushio seemed destined for fame, but met with little commercial success after he moved to New York City in 1969, seeking international recognition. When 19-year-old Noriko moved to New York to study art, she fell in love with Ushio—abandoning her education to become the wife and assistant to an unruly, husband. Over the course of their marriage, the roles have shifted. Now 80, Ushio struggles to establish his artistic legacy, while Noriko is at last being recognized for her own art—a series of drawings entitled “Cutie,” depicting her challenging past with Ushio. Spanning four decades, the film is a moving portrait of a couple wrestling with the eternal themes of sacrifice, disappointment and aging, against a background of lives dedicated to art.
For the complete story, click here.
Hafu: The Mixed-Race Experience in Japan premieres in New York July 28. For more information, click here.
By Stacy Smith (Kumamoto-ken CIR, 2000-03) for JQ magazine. Stacy is a professional Japanese writer/interpreter/translator. She starts her day by watching Fujisankei’s newscast in Japanese, and shares some of the interesting tidbits and trends together with her own observations in the periodic series WITLife.
This weekend the annual Asian American International Film Festival will screen the new documentary Hafu: The Mixed-Race Experience in Japan (the title being the Romanization of “half” in Japanese), made by filmmakers Megumi Nishikura and Lara Perez Takagi and. Both half Japanese themselves, these women were inspired to undertake this project due to the lack of media attention on hafus and frustration with the shallow adoration of hafu celebrities on Japanese television.
The film begins with some informative statistics, such as that 2% of Japan’s population is foreign born and a striking 1 out of 49 babies is born to a family with a non-Japanese parent. These numbers have grown greatly over the last 30 years, and yet Japan is still lacking in its understanding of this diverse populace. Hafu features five half Japanese subjects, and their struggles and successes living in Japan today.
One of the families profiled is comprised of a Japanese father and a Mexican mother, who met while studying abroad in the U.S. They later married and now live in Nagoya with their two children. The older one, nine-year-old Alex, is having a hard time at his local school as the other kids tease him for being “English.” Alex’s parents believe that he needs a change in environment and decide to transfer him to an international school. He asks to spend some time in Mexico before the transition, and comes back from this trip brimming with confidence and an easing of the stutter that plagued him when he was being bullied (which his teachers had turned a blind eye to). Alex goes on to love his new school, make friends, and feel comfortable in his own skin without having to worry about being hafu.
JET alum helps produce “The Birth of Sake” documentary
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Tara Hohenberger, who first fell in love with saké and the Japanese culinary world as an ALT in Nara (2001-2003) wrote to us about a film project she is helping produce. The documentary The Birth of Saké profiles the production seasons and lives of the workers at Tedorigawa, a fifth-generation, family-owned sake brewery in Ishikawa, Japan. Tedorigawa has been producing some of the world’s top award winning sakés since 1870 and still utilizes very traditional brewing methods.
Tara is working on the project with filmmaker Erik Shirai, who was a cinematographer on The Travel Channel’s No Reservations’ with Anthony Bourdain. The crew was first invited to the brewery in August of 2012 and was intrigued by the intense and relatively unknown process (even within Japan) of traditional saké making. Led by Brewmaster Teruyuki Yamamoto, the team of brewers is made up mostly of migrant farmers who grow rice in the summers and return to the brewery in late October to begin an intense six-month period of saké production. They will live under the same roof and eat three meals a day together. At the most intense time, when they brew the ultra-premium Daiginjyo variety they will barely have time to sleep.
In January 2013, they returned to Ishikawa and were granted permission to spend several weeks living amongst the workers at the brewery. It allowed them a rare window into a cast of vibrant and dynamic characters and fueled their interest in painting a deeper portrait of the people behind the product. Shirai’s film captures this little understood world with his signature lush visual aesthetics in the stillness of winter in northern Japan.
On July 9, they launched a Kickstarter campaign running through September 2, 2013, to complete the project. They hope to raise $50,000, which will allow a visit to film the Brewmaster in his hometown of Noto, Japan to illustrate the contrast of the intense life he leads inside the brewery for six months a year, with that of his land, his rice fields, his wife, children and his grandchildren. The film will also capture the critical moment when the workers return to the brewery to begin the production cycle again. Funding will also cover editing, musical composition, licensing, equipment rentals and other post-production costs.
You can view the trailer on The Birth of Saké’s Kickstarter page at
http://www.kickstarter.com/projects/1802764272/the-birth-of-sake
The filmmakers greatly appreciate your help in spreading the word about the film. Follow them at facebook.com/birthofsake + on Twitter: @iamwhatieatTV
