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One of the five Oscars nominees for the best international feature film, one is in a local theater (area of interest), a Netflix (Society of the Snow), and three presses are not available here on time – until you hold the right day at the White River Indie Film Festive at the White Rear Junction on Saturday, February 17, which does not hold the right day at the White River Indy Film Festive, which is a recommendation in this meditative drama in this meditative drama. Set for acting.
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It is a common working day for Hirama (Koji Yakusho). He wakes up on Don’s brake in his Bachelor apartment, rolls his futan, brushing his teeth, hitting the maple plant that he laborically grows into a jar and gets into his van. Still driving through the quit city, he listens to his favorite vintage cassette tape: Lu Reed, Otis Reding, Strip Smith, Nina Simone. He then parks the van, unpacks his supply and works to clean Tokyo’s public toilets.
would you like it?
I am not sure who writes the capsule film details on the Internet movie database, but one of my favorite in recent days is one of my favorite: “A watchman in Japan drives between jobs amidst listening to rock music.”
If he does not entice you, then be sure that the right day is much higher than seeing some man. Nevertheless, at another level, the summary hits the mark, because the film’s film is eventually about the worldly pattern that makes life worth living.
A reference to the Lu Reid song “Perfect Day”, the title is not even a little irony. While other characters sometimes have pity for the solitary, hardworking existence of Sixth Sixthotismating Hirama, the film itself (scripted by Vanders and Takuma Takasaki) has depicted him as opposite to a Pathos figure. This is true, the film is wordless for its first 10 minutes – as long as Hiyama’s female young colleague, Takashi (Tokyo Emojo), come and starts to lick on the silent Hirama. But, in his silent way, our hero is a happy man.
This can help that the toilet he spends in his days is not your average Johns. The right day emerged from an art project called The Tokyo Toilet, whose organizers invited the vendors to document the revision of 16 artists of public facilities in the Shibuya region of Tokyo. There is a space-edge WC, a one that looks like a high-growth lift, a silvon that is adorned with some kind of wooden slab and one that has transparent walls unless the living leaves leave a switch. (“How does it work?” A disappointed woman asks Hirama.)
Touring of these toilets, combined with classic needle drops and Tokyo’s dream horizon ideas, can be sufficient to take care of us. But the right days do more and more with Hirama on their routine; We also look at the subtle streams of struggle and spread to their lives. When Takashi suggested that he now sells analog cassette, Hiyama should maintain his friendship without part with his treasure. When Hirama’s teenage niece Nico (Aarisa Nakano) comes to a stunning journey, she quickly finds out that she runs away from home and addresses the situation.
These young characters can fret about the future, but Hirama lives in the present, keeping in mind themselves. “Next time the next time,” he explains Nico firmly when he tries to lower her for a plan. “Now now.” On his lunch brake, he communicates with trees and takes pictures, which acts as a visual shape throughout the film, which cross-fade in black and white in his night dreams. Stay through the final credits, and you will learn that Comorbi is the Japanese word for “filtered sunlight through leaves”.
One can argue that the vendor is a little bit difficult on another motif: the generation gap. Young Takashi uses a puffed variation on the phrase “10 out of 10” in more than half of its lines. When Nico listens to “Brown Ide Girl” in her uncle’s car, she asks if the song is on Spotify; He asks him what is Spotify. There is a shot that is practically an up-ed: Nico snatched a selfie, while Hirama targeted his camera upwards on trees, seeking transit in nature, while other documents themselves were lost in the online Eco Chamber.
Despite these fleeting signs of “the old man shouts on the cloud”, the right day as a whole share, liberal openness for Hiyama’s experience, his productive silence. This watchman is also an artist and is a less unpleasant successor for Ferris Bueller, wordlessly asking us to stop the husting and look around at a time – on a tree, on a tree, a cast of light or, yes, even an extraordinary beautiful toilet.
If you like it, try …
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