WIT Life #164: More notable Nihonjin
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WITLife 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 together with her own observations.
Interesting article in the NYT today profiling the new head of the M.I.T Media Lab, a 44-year old Japanese venture capitalist named Joichi Ito. Ironically enough, Ito attended both Tufts and the University of Chicago in the past, but didn’t graduate from either as he didn’t like their learning styles. However, his accomplishments include serving on the board of the Internet governance organization Icann and the Mozilla Foundation, and along the course of his career he has invested in more than 12 start-ups such as Flickr and Twitter. In Japan, he helped establish Read More
Justin’s Japan: Tribeca Film Festival Q&A with director David Gelb on ‘Jiro Dreams of Sushi’
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- Jiro Ono, center, with his dream team of sushi masters. (Fortissimo Films)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here to subscribe for free alerts on newly published stories.
An indubitably delicious documentary, Jiro Dreams of Sushi follows 85-year-old master sushi chef Jiro Ono, owner of the esteemed ten-seat Sukiyabashi Jiro restaurant in Tokyo. From the ins and outs of the tuna auction to the proper way to massage an octopus, the film is a lushly photographed homage to the artisan sushi techniques that earned Jiro an elite three Michelin stars, one of just twenty-six restaurants in all of Japan to receive the honor last year.
This mouthwatering movie makes its New York bow Thursday (April 21) as part of the Tribeca Film Festival. In this exclusive interview, I caught up with director David Gelb to discuss his cinematic celebration of the art of sushi, along with its themes of family, tradition, and the value of hard work.
Tell us about your relationship and history with Japan.
When I was very young my parents took me to Japan on business trips. Even though I was only nine years old the third time I went, I already felt a tangible familiarity and affection to the food and the culture. The toys were definitely cooler. I was as fascinated by a history populated by samurai and warlords as much as the fiction with the giant robots and all that.
What else do you enjoy most about Japanese culture?
My favorite thing about the Japanese culture is the philosophy of specialization and mastery. There is a lot of value and respect for people that devote their lives to a single craft. You don’t see this as much in some Western countries.For example, in the USA, many local butchers have been driven out of business by supermarkets. Because of this, the sons of butchers are looking for other jobs to survive, and the skills they and their fathers have developed will be lost. In Japan, however, you’ll see more businesses dedicated to excellence before profits. Being a master butcher is a highly respected and potentially lucrative enterprise. Even in Japan, however, the consolidation of big business and globalization is a threat to craftsmen in small shops. According to many Japanese craftsmen that I interviewed, it has become harder to find young people that have the patience to learn a skill fully. In Japan, it takes years to become a master butcher.
What were your goals with this film? Did it turn out the way you originally anticipated, or did anything about it change during the production period?
Originally, this was going to be a much more general film that would feature many sushi chefs all over the world. In my mind it was the [celebrated BBC documentary] Planet Earth of sushi. I shot some short test segments, but then changed course and decided on a more human approach, making it just about Jiro and his family. Everything I wanted to convey about sushi was right here at Jiro’s restaurant.
How much time in all did you spend filming? Was it difficult to shoot in Japan and work around scheduling repeat visits to Tokyo?
I shot for the month of February in 2010, then returned to L.A. to work with my editor, Brandon Driscoll-Luttringer. After we spent a few months translating and reviewing the footage, we figured out what the story was about, and I returned to Japan to finish. I had some fantastic help on the ground in Tokyo—my translators Yukako Inoue and Shino Nakamura—to organize everything. Without them, it would have been extremely difficult.
What were Jiro and his family’s ground rules for making the film? Was there anything that you were forbidden from shooting?
The only rule was not to film the duo of incredibly hardworking and meticulous ladies that are in charge of cleaning and the cash register. It is a shame because one of the amazing things about Sukiyabashi Jiro is that it is probably the cleanest and most organized restaurant in the world. Literally not a spec of dust goes unchecked in the entire restaurant. The bottoms of the tables are just as clean as the tops. Women of that generation are particularly shy of cameras, and I was very careful to respect their wishes not to be filmed.
Read the rest of the interview here.
WIT Life #156: 4th Annual Peace Festival
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WITLife 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 together with her own observations.
Like most of you, I have spent the last couple of days glued to the coverage of the earthquake/tsunami/radioactive fallout news from Japan. I left Tokyo the day before the quake and was shocked to come home to the awful news. The feelings of helplessness and immense sadness can be overwhelming at times, so I was happy to be able to help out as a volunteer interpreter at the 4th Annual Peace Festival this weekend. It just felt like the right place to be in the midst of all that is happening.
On Saturday night I attended the world premiere of Twice Bombed: The Legacy of Tsutomu Yamaguchi, which told the amazing tale of
this first officially recognized double atomic bomb survivor (二重被爆者 or nijuu hibakusha) who passed away last year at the age of 93. Yamaguchi was in Hiroshima and Nagasaki on August 6th and 9th respectively and was a truly inspiring figure, beginning his speaking out about his experience just five years before he died. Up until that point, his wife and daughter had encouraged him to stay silent as they were scared that Read More
JQ Magazine: JQ&A with Yumi Tanaka of the New York Peace Film Festival
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See ‘A Thousand Cranes’ at the New York Peace Film Festival March 12-13. (Daiei Motion Picture Co.)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02). For more Japanese culture, visit his Examiner.com page here.
Manhattan’s Upper East Side kicks off the weekend with the 4th Annual New York Peace Film Festival, which promotes a deeper understanding of international relations from films and presentations worldwide. Saturday focuses on the devastation of the atomic bomb, beginning with the 1958 Japanese film A Thousand Cranes, the story of young Hiroshima bomb victim Sadako Sasaki. JQ caught up with Yumi Tanaka, the festival’s co-founder and executive producer, for this exclusive interview.
Tell us a little about yourself.
I was born and raised in Japan and came to the States to attend college. Upon graduation, I landed a job and remained in the country. When I moved to NYC for a job, I also started taking an acting class. I thought it will help me at business meetings when I have to do a presentation. I loved theater since I was a child. My first experience was with the Takarazuka Revue at the age of three with my father. I studied theater, as literature helped me taking these acting classes, and I was recommended to do a stand-up comedy workshop then. That’s how I started doing stand-up comedy while holding a real job. Then, I pursued the entertainment industry. I took serious acting classes from a teacher who had taught many famous comedians like Ray Romano, and the list goes on.
It was 9/11 that changed my life. I wanted to do something more meaningful instead of being onstage at smelly comedy club to make drunks laugh. In 2005, I met a Hiroshima survivor visiting New York for an NPT [Nuclear Non-Proliferation Treaty] conference. He told me his life story; how he was hiding as a hibakusha [atomic bomb survivor] for a long time. Then, he said, “Hibakusha are getting older. If we all die, the, there’s no people who carry on to tell our stories.” That was the moment. I thought I could use my knowledge and experiences with theater to tell their story.
In 2006, I met Jonathan Fluck, who used to run children’s theater for over 20 years. He had just produced a poetry performance of Hiroshima and Nagasaki. A mutual friend introduced us. Although Jonathan had never been to both cities, his passion towards nuclear abolition was in sync. So we started the New York Peace Film Festival in 2007, and we’ve held one every year except 2009 due to the bad economy.
Justin’s Japan: NYC Hosts March Anime, Yakuza Film Fests
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'Welcome to the Spaceshow,' an animated entry for this year's New York International Children's Film Festival. (Aniplex)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here to subscribe for free alerts on newly published stories.
Anime sci-fi and a Studio Ghibli-inspired effort from China are the Eastern animation highlights at this year’s New York International Children’s Festival, running March 4 to 27 in Manhattan. The acclaimed festival received national attention two years ago when it hosted the premiere of The Secret of Kells, a European fantasy film that was later nominated for an Academy Award for Best Animated Feature.
North America’s largest film festival for children and teens, NYICFF offers an eye-opening selection of the best new animated and live action film from around the world for ages 3 to 18, with gala premieres, filmmaker Q&As, filmmaking workshops, pre-screening giveaways, audience voting, and the NYICFF Awards Ceremony. Its jury this year includes Uma Thurman, Matthew Modine, Susan Sarandon, Gus Van Sant, James Schamus, Christine Vachon, Michel Ocelot, and John Turturro.
From March 9-19, New York’s Japan Society simmers nearly 50 years of yakuza (Japanese mafia) movies—a mainstay of Japanese cinema—in the Globus Film Series Hardest Men in Town: Yakuza Chronicles of Sin, Sex & Violence, featuring 15 of the genre’s sharpest selections.
In addition to acclaimed classics by directors Hideo Gosha (The Wolves) and Kinji Fukasaku (Cops vs. Thugs, Battles Without Honor and Humanity), the series includes lesser known titles and overlooked treasures by Seijun Suzuki (Youth of the Beast), Takashi Miike (Dead or Alive), Rokuro Mochizuki (A Yakuza In Love, Onibi: The Fire Within), and Academy Award winner Sydney Pollack (The Yakuza), as well as contemporary incarnations of the genre such as Takeshi Kitano’s Outrage. Among eight premieres, four will receive their first screening outside of Japan.
The fest ignites Wednesday (March 9) with a special introduction and live Q&A by celebrated filmmaker Paul Schrader for The Yakuza, Sydney Pollack’s overlooked 1970s gem starring Robert Mitchum and Ken Takakura. The film was Schrader’s debut as a screenwriter (in collaboration with his brother Leonard and Chinatown scribe Robert Towne), and he would go on to pen the scripts for Martin Scorsese’s Taxi Driver and Raging Bull and direct such diverse works as American Gigolo and Mishima, among others. Few films show more deference and respect to Japanese film culture than The Yakuza, which has been lauded as the most original introduction to its eponymous genre.
- ‘Outrage,’ a new crime drama by Takeshi Kitano, left, premieres as part of Japan Society’s Hardest Men in Town film festival, March 9-19. (‘Outrage’ Production Committee )
Justin’s Japan (or America): Oscar Winner + Film Director Q&As
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Academy Award-winning songwriter Randy Newman. (Pamela Springsteen)
JetWit is proud to announce that JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) is now the official Music Q&A and Perfoming Arts Q&A reporter for Examiner.com‘s national page! Kicking off his new channels are exclusive interviews with Academy Award-winning songwriter Randy Newman and filmmaker Kevin Smith.
Visit Justin’s site here to subscribe for free alerts on newly published stories.
Writer/actor/director Kevin Smith. (Mark Mainz/Getty Images)
WIT Life #151: Fireworks from the Heart
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WITLife 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 together with her own observations.
Yesterday I had the chance to attend the ANA-sponsored screening of Fireworks from the Heart (おにいちゃんのハナビ), a sentimental film based on the true story of recent high school graduate Taro whose sister Hana suffers from leukemia. The family moves from Tokyo to Niigata for her treatment, a change that Taro resents as has has to leave junior high in the middle of his final year. Hana ends up being Read More
Justin’s Japan: NY’s Japan Society Fires Up Sabu Film Retrospective
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Japan Society's six-film Sabu retrospective begins Wednesday, Jan. 26. (Courtesy of Sabu)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
This week, New York’s Japan Society presents Run, Salaryman, Run! A Retrospective of Sabu’s Film Works, six slices of cinema packed with high speed, high style, hard luck, and the quirky lusts and lunacies of post-Bubble Japan.
Born Hiroyuki Tanaka in 1964, Sabu is the cult auteur of “punk n’ roll,” alternative comedies, often imitated, never equaled, and far too rarely shown in the U.S. since his 1996 feature debut, Non-Stop a.k.a DANGAN Runner (a film praised by The A.V. Onion Club as “effortlessly clever” and included in this line-up).
In a world of hazards and happenstance, Sabu zeroes in on blue and white collar everymen tossed into dangerously absurd situations from which they desperately try to run. As things speed along, Sabu brings a fresh and frantic twist to traditional film genres (the yakuza film, the thriller, etc.), giving their lean and clean-cropped premises the electroshock treatment and über edgy music scores.
The salute kicks off Wednesday, Jan. 26 with Monster, winner of the FIPRESCI Prize at the 2000 Berlin Film Festival “for its austere, dark wit and keen eye for human foibles.” Other highlights include The Blessing Bell (Netpac Award, 2003 Berlin International Film Festival, Grand Jury Prize, 2003 Cinemanila International Film Festival), and the international premiere of the Japanese auteur’s latest work, the HD-lensed Troubleman.
Sabu has drawn comparisons with Buster Keaton, Johnnie To and Doug Liman, but his satirical jamborees, more than just friendly black comedies, are truly unlike anything else on the silver screen: they are stamina tests, survival riffs, victory rolls.
Click here for the complete story.
Justin’s Japan: Anime Smash ‘Evangelion 2.0’ Invades North America
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Asuka Langley returns in 'Evangelion 2.0,' opening in New York Jan. 21. (Eleven Arts/FUNimation)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
This Friday (Jan. 21), Cinema Asia Releasing, Eleven Arts and FUNimation Entertainment are set to launch the second installment of the Evangelion film series, as Evangelion 2.0: You Can (Not) Advance premieres in New York and nearly 80 other locations in North America.
Presented in English, 2.0 is the second film in a four part series that re-imagines the sci-fi animated blockbuster TV series Neon Genesis Evangelion (1995-1996). Written and directed by series mastermind Hideaki Anno, the film was one of the top five highest grossing Japanese films of 2009 with box office in excess of $40 million. The franchise itself has grossed over a billion dollars to date, and has become a staple of cosplayers worldwide.
Prior to this week’s debut, the film—which blends apocalyptic mecha action and adolescent angst with thought-provoking religious iconography—bowed at festivals around the world including France, Germany, Finland and Australia. The preceding installment, Evangelion 1.0: You Are (Not) Alone (2007), will also screen in New York for two nights starting today (Jan. 19).
Click here for the complete story.
Justin’s Japan: Japanese Sci-fi Film ‘GANTZ’ Holds World Premiere This Week
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'GANTZ' world premiere is Jan. 20 in the U.S. (Courtesy of Nikkatsu)
By
JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
GANTZ, a new sci-fi film from Japan, is making its international world premiere at 325 U.S. movie theaters (including three in New York City) in an exclusive one-night event on Thursday, Jan. 20. Based on the long-running manga and anime series originally created by Hiroya Oku, GANTZ stars two of Japan’s biggest leading actors, Kazunari Ninomiya (Letters from Iwo Jima) and Kenichi Matsuyama (Death Note, Detroit Metal City), who will both participate in an special live interview exclusive to this event.
Presented by NCM Fathom and New People, in association with Dark Horse Comics, GANTZ tells the story of childhood friends Kei Kurono and Masaru Kato, who are accidentally killed while trying to save another man’s life. Rather than find themselves in the hereafter, however, they awaken in a strange apartment in which they find a mysterious black orb they come to know as “GANTZ.” Along with similar abductees, they are provided with equipment and weaponry and manipulated into playing a kind of game in which they are sent back out to the greater world to do battle with alien beings, all while never quite knowing whether this game is an illusion or their new reality.
Click here for the rest of the article.
Justin’s Japan: Interview with Filmmaker Amy Guggenheim on ‘When Night Turns to Day’
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- ‘When Night Turns to Day’ director Amy Guggenheim. (Courtesy of A. Guggenheim)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
New York-based writer/director/producer Amy Guggenheim is currently hard at work on When Night Turns to Day, a dramatic feature that will be shot in New York and Tokyo. A present-day romantic thriller with martial arts, sword choreography and tattoos, the film follows May, a young American female writer who gets drawn into both Japanese sword fighting (kendo) and a passionate relationship with Toshi, a young Japanese martial artist. Beyond anything she’d ever imagined, both must face secrets from their past, barely escaping with their lives.
Guggenheim herself is a third dan (degree) kendo practitioner who has competed in Tokyo, a grant recipient from the New York State Council on the Arts and the Mellon Fund, and the director of her own production company. I caught up with her to learn more about When Night Turns to Day, which begins shooting in Japan next year.
What made you interested in making a movie about kendo from an American perspective?
I got interested in making a film involving kendo after making a multimedia theater piece called Monsters and Marvels with video projection and 14 actors. It’s about the unconscious influence we have on each other from various cultures, Japanese being one of them. It’s also a way to express my vision of kendo as an American woman in 2010, interested in the “art” aspect of the “martial art.”
What is your personal history with Japan?
I’ve been involved with Japan in one way or another since the 7th grade. I was first interested in the design culture and the values of simplicity and essence, then later in kabuki, noh and butoh. In my background in theater, I was trained by Zen-influenced artists including Elaine Summers— an early intermedia artist from Judson Church (John Cage, Merce Cunningham, etc.), and then Eiko and Koma—butoh artists based in New York. When I was doing my own solo theater performance work, I started practicing kendo. For a few years I toured in Europe, Latin America and the U.S. performing my work and then practicing kendo with local dojos.
With the honor of having an Asian Cultural Council Grant in 2008, I was able to travel again to Japan (the first two trips were kendo-related—2006 participating in the first International Women’s Kendo Tournament in Tokyo), and in these last two years I’ve gone back several times and have been working with Masaru Koibuichi of Koi Pictures (our co-producer there), Setsu Asakura (art director) and others.
The dark, erotic tension of Japanese culture is my own language as well, and also the intuitive intelligence at the heart of kendo is my subject, too.
How did you get into kendo originally? Are there any films that cover the subject that inspired you with the idea or development of your film?
Bobby Troka, a kendo player and voice coach, worked with me on a solo piece of mine, suggesting I try it. I thought it was “too formal,” but once I did it, I fell in love with it and couldn’t stop! That was in 1990. There’s surprisingly few films that adequately deal with kendo, and I must say the idea developed out of my own experience and imagination and was inspired by people I met in the kendo world along the way. The way Kwaidan, directed by Masaki Kobayashi, deals with the uncertain spaces of the psyche, is evocative. Kurosawa’s Ran, Dreams and The Seven Samurai, Shindo’s Onibaba, Masumura’s Irezumi and Hong Kong martial arts films also have great inspirational material.
What are your current goals regarding the next steps in getting the film made?
We are assembling a terrific, experienced, creative team here and in Japan, and launched a mini-fundraising campaign going with Kickstarter.com that ran through November. We will next move on to preliminary test shooting and start working with sword choreographer Kataoka Noboru and actors in New York City. We are working hard to complete financing for the feature to shoot next fall, which will include investors, pre-sales and sponsors. If people are interested in donating to the project to help get us to principal photography next year, please go to our website at www.whennightturnstoday.com. You can also contact me by e-mail about donations, the project, or interest in getting involved with creative skills or production.
Click here for the rest of the interview.
JETAA DC Film Festival: How was it?
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On December 3 and December 5, JETAADC held its first ever JETAA DC Film Festival. And they did it in style at the Freer Gallery of the Smithsonian Institute. Here’s a write-up of the event courtesy of JETAADC.
In an attempt to increase awareness of the Japan Exchange and Teaching (JET) Program and to showcase Japanese or Japan-related films to American audiences, the Japan Exchange and Teaching Alumni Association of Washington, DC (JETAADC) partnered with the Freer Gallery of the Smithsonian Institution to screen two films from December 3-5, Linda Linda Linda and The Harimaya Bridge.
On Friday, December 3, JETAADC showed Linda Linda Linda, a quirky comedy about a band of four girls and their rehearsals leading up to their talent show performance during school festival. Prior to the film, JETAADC Vice President Nick Harling provided some opening remarks, discussing the JET Program, JETAADC, and adding a bit of context to the film. Approximately 130 people attended the show on December 3, and after the film, about 40 audience members congregated at a local bar to continue discussing the film and Japanese culture.
On Sunday, December 5, JETAADC and the Freer Gallery screened The Harimaya Bridge, written and directed by Aaron Woolfolk, a JET alum from Kochi-ken. The film follows an American man who must travel to rural Japan to claim some important items belonging to his late son, from whom he was estranged. While there, he learns several secrets his son left behind. Mr. Woolfolk attended the screening, which drew over 200 people from the greater DC metro area, including representatives from local media. After the film, Mr. Woolfolk responded to questions from the audience regarding his inspiration for the film, the process of making the film, and what it was like working in Japan, both as a teacher and a filmmaker. About 50% stayed for the Q & A.
Afterwards, Mr. Woolfolk said, “It was a special honor to have the film shown at the Smithsonian Institution, and I am especially grateful to JETAADC for playing a pivotal role in making that happen. Moreover, spending time with the DC alumni before and after the screening reminded me how very fortunate and proud I am to be a part of the JET community.”
JETAADC President Maurice Maloney added, “JETAADC was honored to have Aaron Woolfolk and The Harimaya Bridge as part of our film series. In two and a half hours at the Freer Gallery, the film, along with Aaron’s discussion, conveyed the JET experience to a broader audience than we could have reached in months.”
Maloney added, “In light of discussed budget cuts to the JET Programme and JET Alumni Associations across the globe, it is more important than ever for JET Alumni Associations to showcase the breadth of their alumni and the positive effects they have on their communities.”
Click “Read More” to see photos from the event, courtesy of JETAADC.
WIT Life #139: 60′s Japan film festival
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WITLife 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 together with her own observations.
On Friday night I attended a free screening of the movie Yearning, which was being shown as part of the Japanese Cinema 1960’s film series at Asia Society. This organization is co-sponsoring the event along with Japan Foundation, and they have been offering complimentary tickets to the five films that were being shown over a span of a little over a month. You had to sign up ahead of time by indicating which film you wanted tickets for and officially you could only pick one, but when I went there was a stand-by line so if you go early on the day of the show you are likely to get in even without tickets.
Although Yearning was the English title of the movie, it came from the Japanese title of 乱れる (midareru), literally meaning Read More
Justin’s Japan: ‘Summer Wars’ Anime Aims for Oscar (Film Review)
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- ‘Summer Wars’ comes to New York’s IFC Center Dec. 29.
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
The opening scene of Mamoru Hosoda’s animated film Summer Wars transports us to the virtual world of OZ, a place where hundreds of millions of users chat, shop and play via customized avatars in a breathtakingly trippy space that owes much to contemporary Japanese pop artist Takashi Murakami and Mamoru Oshii’s Ghost in the Shell movies. But it’s in rural Nagano where most of Summer Wars occurs, and this setting gives it a heart in a world that’s becoming increasingly addicted to online social networks and mobile devices.
The film enjoyed a sold-out reception of its English language premiere at Asia Society yesterday as part of distributor GKIDS’ annual New York International Children’s Film Festival. Fueled by Internet buzz and rapturous word of mouth upon its initial release in Japan last year, the film won a clutch of awards and is an official entry for Best Animated Feature at the 2011 Academy Awards.
The plot: teenage OZ moderator Kenji (voiced by Michael Sinterniklaas) agrees to a “job” escorting his popular schoolmate Natsuki (Brina Palencia) to her great-grandmother’s upcoming 90th birthday celebration at the family’s enormous estate in Ueda. The catch: he’s asked by his secret crush to pose as her fiancé, which hits complications as her crazed extended family enters the picture. To make matters worse, Kenji unwittingly triggers a malicious AI program called Love Machine that threatens not just the existence of OZ, but the rest of the real world with its interdependence on technology. It’s up to the boy—a girl-phobic math prodigy—to gain new confidence in himself in order to right OZ and win his dream girl’s heart.
Click here for the rest of the review.
JETAA DC Film Festival – Dec 3 and 5
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Via Mack Maloney, President of JETAA DC:
JETAA DC will be holding a film festival at the Freer Gallery of the Smithsonian Institute the weekend of December 3-5.
1. Friday, December 3 @ 7pm is “Linda Linda Linda.”
The film follows four girls as they prepare their band for their final school festival. Accompanied by a great soundtrack, this film is funny, poignant, and will certainly have you longing for your school festival (and a karaoke box).
2. Sunday, December 5 @ 2pm is “The Harimaya Bridge,” written and directed by JET alum Aaron Woolfolk (Kochi-ken) who will be in attendance.
Filmed in Kochi Prefecture, “The Harimaya Bridge” is a drama about an American man who must travel to rural Japan to claim some important items belonging to his late son, from whom he was estranged. While there, he learns several secrets his son left behind. Mr. Woolfolk will be in attendance during the screening and will stay to answer questions about his craft and his experiences. Come see a film the Los Angeles Times calls “a unique, complex, consciousness-raising accomplishment,” and Derek Kester of the San Francisco Examiner labels one of the best films of the year.
