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Forty years later, when the filmmaker was diagnosed with stage four lung cancer, he decided to spend his remaining time seeing the unmade film to fruition. The story goes that, in order to make “House” back in 1977, Nobuhiko had to abandon a project that was near and dear to his heart: An adaptation of Kazuo Dan’s 1937 novel “Hanagatami” (or “The Flower Basket”). Now, towards the end of his life, his unique vision of the world is more wonderful and appreciated than ever. Not Nobuhiko he was born looking at the world through a warped lens. It’s easy to forget that “House” was Obayashi Nobuhiko’s first feature - there’s something intrinsically sui generis about any film that insane, but most directors need to master their craft before they can make something that feels like an expression of pure madness. Everyone in this movie, from the buttoned-up protagonist to the secretive madame who crystallizes his lifelong desire for older women, is constantly struggling to make sense of their own strange lusts their encounters suggest that our perversions might be one of the most normal things about us. What begins as a Murakami-like riff on modern sexuality blooms into something a bit more challenging. Just wait until you meet the 70-year-old woman who can orgasm just by engaging in polite conversation with a younger man, or the couple whose playful cuckoldry involves all sorts of elaborate props. If not for the film’s sensitive emotional underbelly, parts of it would be hard to distinguish from porn.īut underneath all of the naked bodies and squishy sound effects, “Call Boy” is an intriguing portrait of desire and discomfort - in its knowingly ridiculous way, the film offers a compelling glimpse into the hearts, minds, and underpants of regular people whose lives are shaped around their shame.
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SPRING TOP ANIME 2017 MOVIE
The foley work alone would be enough to earn the movie an NC-17. The first thing that you should know about Daisuke Miura’s “Call Boy” is that it’s very explicit - this jazzy melodrama about a bored university student (a blank-faced Matsuzaka Tori) who starts moonlighting as a Tokyo gigolo is as hardcore as softcore gets. It’s a coming-of-age story that wriggles and screams with the frustration of growing up, as Yamanaka taps into her own recent experience to crystallize that time in your life when you’ve got all the energy in the world and nowhere to put it - all the emotions you can feel but no one to answer them. Shot with a shaggy, percussive energy that vaguely recalls the rebelliousness of the French New Wave, “Amiko” is a 66-minute tizzy of aimless voiceover, drab digital cinematography, random dance sequences, and adolescent ennui (“Ordinary, poor souls could never understand the two of us,” Amiko sighs). Unfortunately for the eponymous heroine, her crush absconds to the big city, where he shacks up with Amiko’s arch-rival. A scattershot but deeply exciting debut from 20-year-old writer-director Yamanaka Yoko, the micro-budget “Amiko” tells the universal story of a bored schoolgirl who begins to obsesses over a boy in her class after they bond over their shared love of Radiohead (sample dialogue: “I wonder if Thom Yorke wakes up, looks in the mirror, and thinks, ‘Ah, I’m Thom Yorke again today.’”). “Amiko” is the kind of movie that JAPAN CUTS is all about - the kind of movie that American audiences would never get to see (or even know about) if not for the work of eagle-eyed programmers who are determined to cut through the gatekeeping of international distribution and bring us an unfiltered look at foreign indie cinema.
SPRING TOP ANIME 2017 FULL
Visit Japan Society’s website for the full slate and ticket info. JAPAN CUTS runs from July 19-29th at Japan Society. Here are five must-see films from JAPAN CUTS 2018. Seen together, this mad blur of high and low art coheres into a comprehensive snapshot of one of the world’s most exciting national cinemas - it’s the closest you can get to Japan without actually going there. They’re the silliest (“We Make Antiques!”), and the splashiest (“BLEACH”), and the most sentimental (“Mori, the Artist’s Habitat”). The 2018 lineup is a characteristically awesome testament to the adventurous programming that’s always set JAPAN CUTS apart - these aren’t just the best classic and contemporary Japanese films, they’re also the darkest (“Foreboding”), the most daring (“Call Boy”), and the most deranged (“Night Is Short, Walk on Girl”).