Reread all of this book today during school. Felt a sudden urge to do so after reading the story Firefly in Haruki Murakami’s collection Blind Willow, Sleeping Woman. May be falling in love with Murakami all over again. If you haven’t been graced by the multifaceted greatness of his writing before, go do so immediately. Here. He is, without a doubt, my favorite author. Let’s put it this way — I worship Murakami as Thomas does Chuck Palahniuk. As for this particular novel, we look to Wikipedia for a quick synopsis:

Norwegian Wood (ノルウェイの森, Noruwei no Mori) is a 1987 novel by Japanese author Haruki Murakami. The novel is a nostalgic story of loss and sexuality. The story’s protagonist and narrator is Toru Watanabe, who looks back on his days as a freshman university student living in Tokyo. Through Toru’s reminiscences we see him develop relationships with two very different women — the beautiful yet emotionally troubled Naoko, and the outgoing, lively Midori.

Two words: Good shit. So good, in fact, that a film adaptation is in the works. Up ’til now there have been no real successful attempts to adapt Murakami for the silver screen — a task that has, in fact, been deemed impossible. The probability of failure is immense; most directors would end up mangling his work. But Oscar-nominated Vietnamese director Tran Anh Hung, the man behind The Scent of Green Papaya and Cyclo, has taken up the challenge. The film will be released in the fall of next year, and I am anxious to see how it will turn out.

If the casting is any indication, this is no meager amateur production. The emotionally fragile Naoko will be played by Rinko Kikuchi (right), who acted in Babel and more recently The Brothers Bloom — a very fitting and promising matchup. Turns out, she’s the only living Japanese Oscar nominee for acting. Her polar opposite, the infectiously cheerful Midori, will be played by model Kiko Mizuhara (left), who I know nothing of. Looks like this will be her acting debut.

Caught in the middle of these two is Toru Watanabe, who will be played by Kenichi Matsuyama, who played L in the Death Note live action movies. ’nuff said. What’s even more exciting is that the film will be scored by Oscar winner Ryuichi Sakamoto, who did the heartending music for the condom commercial I was so hooked on earlier this year. In fact, he actually scored an earlier adaptation of Murakami’s short story Tony Takitani. At the moment, that’s all we know… the project, much like Murakami’s latest novel 19Q4, is being kept up in wraps. I for one will be closely following the film’s development, will update you guys as I discover more.

Norwegian Wood (This Bird Has Flown) by The Beatles (download)

Hibari by Ryuichi Sakamoto (download)

The Brothers Bloom was an enjoyable watch. It wasn’t hilarious, it wasn’t sad, it wasn’t fast paced, it wasn’t too long, I guess I should start with what it was. The Brothers Bloom is a film about two brothers who grow up to be Con(fidence) men. It shows them from their humble beginnings as children when they execute their first con, and then jumps to their final few grifts. There’s some solid characters within the story, and not just the brothers. The two female leads, Rinko Kikuchi and Rachel Weisz, stand out as “Bang Bang,” and “Penelope Stamp,” respectively. They truly steal the show. Rian Johsnon, who directed Brick (2005), which I didn’t but now will see, has a very interesting style of direction. The atmosphere had just the right amount of creepy to effectively pull off a dark comedy.

Johnson points out early in the script that the use of symbolism will be often and apparent. Everything, from the way the characters wave to each other to the outfits they wear, says something about the story and the character representing the story. In fact the name of the film itself symbolizes the light-hearted take on dark events clearly with the play on the names of popular storytellers the Brothers Grimm. I look forward to seeing more of Rian Johnson’s work in the future, and after watching Brick, there will be no more material to catch up on. More Rian Johnson A.S.A.P. Hollywood!

Speaking of people there should be more of in the film world, Mark Ruffalo turns in another great performance. I’m not sure which film it was, but somewhere between Safe Men and Zodiac, Mark Ruffalo became one of the top 20 actors working today. Crazy little tidbit I just realized, Ruffalo plays Stephen in this, and Max Records plays the younger counterpart. Both were in the opening scenes of Where the Wild Things Are together. The character of Stephen is certainly the more interesting of the two brothers, but that’s probably due to the performance, as he certainly has the most boring motivation of any of the four leads. As I said earlier the true scene-stealers were the ladies, as even without words, Bang Bang had more screen presence than Adrien Brody, who was forgettable in his turn as “Bloom.” Rachel Weisz is either really funny, really lucky Adrien Brody makes her seem funnier due to his dryness, or both. She nailed her role as an over-the-top New Jersey Heiress shut in with no friends and tons of hobbies.

Kikuchi and Ruffalo

I could live without ever seeing another film about Con Men. It’s just played out to me at this point. The Brothers Bloom had it’s own spin on the deal, and that made it watchable, but I’m certainly not as enthused as I’d be about this movie if I didn’t have to watch Matchstick Men, Dirty Rotten Scoundrels, The Sting, Confidence, etc. It takes a lot to get something original from a source tapped as many times as this one, but I certainly can’t say I didn’t enjoy the Brothers Bloom, so Johnson pulled it off somehow.

Some supporting roles that deserve to be mentioned are Robbie Coltrane and Maximlian Schell. Coltrane played “The Curator,” and was great in his drunken haze. Schell was the films main Antagonist, who is only on screen for about two minutes all together, but does enough in that time to show why the titular brothers loathe his existence. It was also nice to see the quick exchange between Ruffalo, Schell, and a wine bottle. The most intense moment of the film I’d say. While I’m talking about great supporting characters in the film, did I mention Rinko Kikuchi as Bang Bang? Oh, I did.

The Brothers Bloom is an interesting experience with familiar material, but I guess every movie is based on familiar material these days. Rian Johnson shows he’s going to have an interesting future in the business, and brings a lot out of a great cast. Always nice to see the writer/director be so successful at seeing his image all the way through. This film is just the right length to keep from getting repetitive, but is also just not funny enough to demand repeat viewings.

Rating: Rent, Borrow, or Watch onDemand

Judging from Rian Johnson’s remarkable directorial debut, Brick, this was a newcomer worth paying attention to. That movie showed a truly original vision and approach, creating a new take on the Noir-genre picture set in a suburban high school of all places. Here he sets his sights just as high, if not higher considering that this picture is loaded with heavy Hollywood talent.

Stephen (Mark Ruffalo) and his younger brother Bloom (Adrien Brody) are world-class grifters, aided by their mysterious, silent accomplice Bang Bang (Rinko Kukuchi). Penelope (Rachel Weisz), a sheltered heiress and recluse, is their mark. In fact, she is to be their last as con after con, Bloom swears it’s his last time. Bloom yearns to live a life of substance as opposed to a role in a deception.

The movie’s excellent opening sequence explains their history, their bond and their discovery of their gift for graft. It also plants the seeds of the brothers’ differences. It’s a truly impressive opening to a movie, and unfortunately, from there the movie slowly loses cohesion.

Cut to present day. The Brothers Bloom, as they’re known, travel the globe as they pull off elaborate con after elaborate con, complete with overarching thematic nuances devised by the mad genius that is Stephen. Only Bloom’s had enough. He can’t do another con. He wants to live an ‘unscripted life.’

Stephen is able to get Bloom aboard  for this last con because he knows Bloom will fall for Penelope the moment he sees her. (In fact, Stephen is seemingly able to get anyone to do anything with his mastery of manipulation.) Yet Penelope seems aware of much more than she lets on. The plan they’ve devised takes them (and us) all across the globe, from New Jersey to Greece to Prague to Montenegro to Mexico. The scenery of the movie resembles something from a fancy travelogue and adds to its glossy veneer.

Without getting into too many details, the movie revolves around the same central premise as almost all con movies: who is really conning who? Unfortunately, that question became one I stopped caring about far too early. The movie has its share of magical moments – the opening sequence, Penelope describing her childhood while performing a card trick and the montage showing Penelope’s affinity for picking up hobbies are worth celebrating – but they don’t do much to hold the film together as a whole.

Mark Ruffalo and Rachel Weisz are among my favorite actors and Rian Johnson’s first movie really impressed me, so maybe my expectations were simply too high. But for me, what could have been a quirky, irreverent movie instead ended up feeling a bit pretentious and contrived. Too bad. This movie does show you how gifted a director Johnson is but only in spurts. The rest of the movie cannot make up for the shortfall no matter how hard it tries, and try hard it does. You can almost feel the effort the movie is making to keep you interested.

There are flashes of brilliance here. Unfortunately, they all outshine the final product. This movie left me yearning to see what Johnson can come up with next, yet overall, I give this one a C.

Here are a few of the scenes that I really liked if you’re interested.

Estréia 23 / 10 / 09 – Por : Eduardo Maurício

“Vale a conferida, principalmente para aqueles que buscam um filme leve, bonito e divertido ao mesmo tempo”

Orfãos desde a infância, os irmãos Stephen (Ruffalo) e Bloom (Brody) cresceram aplicando golpes em pessoas inocentes. Para Stephen, o mais velho, tudo não passava de uma aventura, um modo de sobrevivência e não desperdiçava a chance de escrever histórias sobre seu atos. Já para Bloom, o caminho era errado, mas não conseguia tomar um rumo próprio por se sentir sempre inseguro.

25 anos se passam e ambos combinam dar um último golpe, golpe este envolvendo a rica e solitária Penelope (Weisz).

O filme se divide em 6 ou 7 capítulos que ajudam a contar a trajetória dos Irmãos rumo ao desfecho de seu último golpe.

Com figurino de época embora os fatos se passem em tempos modernos, ‘Os Vigaristas’ cativa pela complexidade e simpatia dos personagens principais e, embora carregando um pano de fundo dramático, reserva a cada momento uma cena para fazer rir ao melhor estilo das comédias inteligentes.

O quarteto de protagonistas fazem um trabalho e uma química satisfatória, Enquanto Ruffalo vive o típico vilão bonzinho que aparentemente só se importa com ele, Brody vive o atormentado, confuso e inseguro, ao tempo em que Weisz cativa como uma mulher inocente e interessante – já Kikuchi rouba a atenção justamente por ser uma personagem curiosa e misteriosa – a típica ‘fodona’ na melhor das descrições. A todo momento nem entendemos por que motivos ela anda com os irmãos – pessoas tão diferentes dela.

Apesar do atraso para o lançamento nos cinemas (filmado em 2008), vale a conferida, principalmente para aqueles que buscam um filme leve, bonito e divertido ao mesmo tempo.

Para conferir vídeos, álbum de fotos, curiosidades, informações e mais sobre o filme : www.xcine.com.br/filme_vigaristas.html

The full length trailer for Mamuro Oshii’s ( Ghost in the Shell, Avalon, The Sky Crawlers ) new movie Assault Girls is just stunning.

Great CGI, cool looking characters, beautiful ladies and stonking great guns.

The science-fiction story is set on a post-apocalyptic desert battlefield where giant monsters named “Suna Kujira” roam. Three beautiful female hunters, Gray (Meisa Kuroki), Lucifer (Rinko Kikuchi), and Colonel (Hinako Saeki), all of whom wield assault rifles and other powerful weapons, engage in battle with the monsters, including the biggest of them all, the Madara Suna Kujira

Source: Twitch

The Brothers Bloom runs in the tradition of all great con-artist movies. You have the con artist who falls for the mark. The steadfast con man who has to keep the game going. The innocent mark. And well there is always a twist.

The pedigree of the Brothers Bloom though has two Oscar winners, an Oscar nominee and two highly respected character actors. So I had high hopes for this movie going in.

Adrien Brody and Mark Ruffalo star as the Brothers Bloom, two brothers who were shifted around from foster parent to foster parent throughout their childhood. Their common bond is that they learn to pull off cons. As they grow up, the Brothers become the world’s greatest con men.

Brody’s character is just referred to as Bloom and he is the pushover brother. Ruffalo plays Stephen is the steadfast brother. Then there is their creepy sidekick Bang Bang (Oscar nominee Rinko Kikuchi).

Their mark is a beautiful, shut-in heiress Penelope (Rachel Weisz). This will be Bloom’s final con as he wants to go legit. But this con will require more planning, more sneakiness and more cunning than the Brothers have ever done before. What ever Bloom does he can’t fall for the mark! Too late!

The movie was written and directed by Rian Johnson who brought the hidden indie gem, Brick. He brings the same intelligence and character development here as he did in his first movie.

The Brothers Bloom is beautiful in its voiceovers, transitions, character development and execution. I loved how each section of the con was signified like chapter titles in a book. I really also like Adrien Brody as the tormented brother. Ruffalo and Rinko were interesting and the cameos from Robbie Coltrane and Maximillian Schell were priceless. Oh, and including Ricky Jay as the narrator was awesome! You cant have a con movie without a tip of the hat David Mamet’s con-artist muse.

For 85% of the movie it is pretty routine but the final 50 minutes of the film you just have no idea where the con ends and real life begins. I loved that aspect because so many con artist movies keep the audience in on the con. The Sting, Grifters and even Dirty Rotten Scoundrels all had great twists but Brothers raises the bar in the final act “con confusion”.

I will be yearning to see Rian Johnson’s next movie as he is becoming one of those unsung filmmakers we should all embrace.

4.5 out of 5

So Says the Soothsayer.

Deux frères arnaqueurs réalisent des cases en suivant des scénarios et mises en scène. Ils décident de réaliser leur dernière arnaque en abusant d’une héritière assez excentrique qui vit seule dans son château. Mais cette dernière se révèle encore plus manipulatrice qu’eux.

Il faut avouer, le principal atout du film réside sans son casting. A. Brody & M. Ruffalo sont assez crédibles même si j’ai du mal avec le premier nommée. Chacun dans un registre différent, les deux frères sont complémentaires: l’un est le cerveau et l’autre gère l’action. Le mensonge est quelque chose qui les accompagne depuis l’enfance et leurs premières arnaques où ils commencent à mettre en place leur art avec pour but que chacun obtient ce qu’il désire. R.Weisz est parfaite dans son rôle de personnage blasé qui cherche quelque chose à faire. La scène où elle montre à Bloom tout ce qu’elle a appris vaut le coup d’oeil.

Mais si le film débute vraiment bien, le problème c’est que trop d’arnaques le font trainer en longueur, surtout sur la dernière demi-heure où j’espérais vraiment que le film se termine tant cela devient un peu incohérent. De même si le film ne se prend pas au sérieux, je trouve qu’il aurait été sympathique que l’humour soit plus présent.

En gros : Une petite comédie sympathique mais qui aurait pu (du) être meilleur.

Note : 2,8/5

Piper se trouve un emploi dans la sandwicherie By The Inch. Elle a pour collègue Jen, qui passe sa vie sur son ordinateur à parler avec un inconnu dont elle tombe amoureuse, Priestly, un punk qui vit dans son monde et Tish, qui cherche une relation sérieuse sans pour autant négliger son coté nympho. Le tout est surveillé par Trucker un ancien hippie.

J’ai agréablement été surpris par ce film. A vrai dire, je m’attendais à un n-ième teen movie mais là, c’est abordé d’une manière différente, pas uniquement accès sur la comédie. Les personnages sont sympathiques sans pour autant être assez exploité. Pas vraiment de moments creux sauf à un moment mais celui sert de répis pour pouvoir se demander dans quelles séries ont joué les acteurs.

En gros : Un film assez simple mais qui possède des répliques et scènes marrantes malgré une fin à la “feel good movie”.

Note : 2,5/5

La meilleur équipe de déminage de l’US Army, gérée par le lieutenant James, désamorce les bombes dans Bagdad malgré la situation locale.

Le film se veut d’être un film choc sur la situation actuelle en Irak. Pour cela, la réalisatrice utilise la caméra à l’épaule pour que le spectateur soit vraiment plongé au coeur de l’action. Les dangers sont multiples et peuvent venir de n’importe où dans un milieu hostile où les Américains ne sont pas les bienvenus. Et l’histoire en elle-même se tient bien avec un final que je n’avais pas vu venir.

Le casting est bon et l’apparition de quelques stars qui font face à d’autres acteurs peu connus apporte un plus. Contrairement au changement de style entre la caméra à l’épaule et fixe qui m’ont légèrement destabilisé.

En gros : Un bon film entre le film d’action, le film de guerre et le documentaire.

Note : 3,5/5

I have at different times in my life, sold sand to an Arab and ice to an Eskimo.

– Stephen

After countless recommendations on different podcasts and on twitter, I am glad that The Brothers Bloom came out on DVD recently. As much I disliked writer/director Rian Johnson’s debut, Brick, I wanted to see this movie when I caught the opening sequence on Hulu before it was released. Watching the movie, I was blown away that I loved the film.

The titular brothers, Stephen and Bloom (Mark Ruffalo, Adrien Brody) are con artists that have been at the game since they were little being bounced around the foster care system.

Older brother Stephen is enjoying the thrill of the con, but the younger brother, Bloom had grown tired of the con life. He wants to get out.

With their demolition assistant, Bang Bang (Rinko Kikuchi) by their side, the brothers sent out to pull off one last con before Bloom hangs up his bag of tricks for good.

Their last mark is an eccentric heiress named Penelope Stamp (Rachel Weisz). The problem from the get-go is that Bloom has broken the cardinal rule of con artists, never fall in love with the mark.

As the elaborately constructed con commences, the situation spirals out of the control when the group has to deal with the Curator (Robbie Coltrane) and their mentor, Diamond Dog (Maximilian Schell).

I underestimated the genius that is Rian Johnson. I had low expectations of this movie, but I was dead wrong about it.

The performances from the principal cast were astounding, especially Rachel Weisz. She was magnetic on screen. Her innocence and quirkiness struck a nerve with me. The European locations were full of poetry and life. Nathan Johnson’s score was perfect. The dialogue was sweet in one instance and the next would throw you in a loop. Even the narration by Ricky Jay, which I normally think is pointless, works well the tone of the whimsical nature of the film. Fantastic.

Judgment: Buy this movie as you are reading this review. You will not regret it.

Rating: *****

The platinum cake, with a price tag of $130,000. It was created by the famous Japanese pastry chef, Nobue Ikara, as a tribute to beautiful women. Nobue teamed up with a jeweller who helped drape his cake in platinum necklaces and foils, some of which are edible. The cake was dedicated to famous Japanese women such as Rinko Kikuchi and Chie Kumazawa

Ficha

En mi humilde opinión, la crítica especializada está, en ocasiones, contaminada en exceso por el mundillo del que forman parte. Desde tiempos de Mi Vida Sin Mí, se extendió la moda de convertir en popó todo lo que salía de una cámara tras la que se situara Isabel Coixet. Desde entonces, y han caído tres filmes de la realizadora catalana ya, entendidos de aquí y allá han gozado como niños reduciendo a pura mierda películas tan, creo, decentes, como La Vida Secreta de las Palabras, Elegy (aunque sobre ésta yo mismo tengo mis reservas) y, recientemente y con las críticas más despiadadas, la aventura japonesa de la Coixet: Mapa de los Sonidos de Tokyo.

Antes de ir al cine, llegué a leer comentarios tan negativos, que dudé, incluso, si gastar o no el dinero del día del espectador (3,50 €) en ver la cinta. Venía yo un poco desanimado tras la decepcionante Elegy, pero también era consciente de que aquello fue más bien una obra menor, encima adaptación de un libro (El Animal Moribundo), y con la imposible “Pe” como estrella principal. Finalmente hice cuerpo, hice el trueque con la yonki de la taquilla, y me acomodé en mi butaca, con cierto miedo a quedarme dormido (dado que según ilustrísimos críticos, el filme era soporífero de aquí a Filipinas y vuelta).

Primera escena: el color, la música, las imágenes son ya, para empezar, de una maestría absoluta. Un aperitivo visual, un anticipo de la explosión sensorial que la directora pretende que experimentemos. Concluída esta escena, uno toma la firme decisión de quemar vivos (mentalmente) a Carlos Boyero, Luis Martínez y Javier Ocaña, armados con sus arduos conocimientos cinematográficos y orgullosos de no reconocer una buena película aunque la tengan delante de las narices, y disfrutar de una película descontextualizando su lanzamiento lo más que pueda.

La fotografía y el sonido están muy por encima de la media del cine independiente y del convencional también. Y no creo que sea algo azaroso. Independientemente de la historia, Coixet nos encierra en una atmósfera más propia de filmes lynchianos (aunque reconozco que últimamente veo algo de Lynch en todos los directores), en los que el argumento hace de hilo conductor de una serie de emociones visuales y sonoras que le dejan a uno babeando catatónico. Es, en esencia, un puñado de belleza concentrada en unos cuantos metros de celuloide.

Existen, no obstante, algunas pegas. La más evidente y que choca de lleno con todo el objetivo del asunto, es el chirriante, desastroso, penoso doblaje de Sergi López. No tengo claro que se doblara a sí mismo, pero creo que así es. Y en ese caso, comprendo que haya pasado esto, dado que generalmente cuando los actores que se doblan a sí mismos el resustado es espantoso. Por otro lado, está el tema de la previsibilidad del argumento: el espectador tiene la sensación de ir siempre un cuarto de hora por delante de los personajes, y únicamente hay un momento absoluto de desconcierto, cuando Ryu (Rinko Kikuchi) se ve atrapada en una posición bastante angustiosa. Es el único momento de la película en el que realmente sientes que la directora suelta tu mano y te ha dejado perdido, por Tokyo.

En esencia, una perfecta sucesión de sonidos e imágenes fascinantes, adecentados con una bonita historia de amor que podría ser, no obstante, mejorable.

Yo digo que Isabel ha vuelto a hacerlo. Bien.

Frances Meiwes

(Article publicat al suplemente Què Fem de La Vanguardia el 28 d’agost del 2009)

Després d’haver estat presentada a la darrera edició del Festival de Cinema de Cannes, avui s’entrena Mapa de los sonidos de Tokio, la nova creació de la realitzadora catalana Isabel Coixet. Una pel·lícula protagonitzada per Sergi López i Rinko Kikuchi, l’actriu japonesa que va captivar el món gràcies al seu paper a Babel. L’autora de films com La vida secreta de les paraules, Elegy i Mi vida sin mí ens endinsa en una complicada i estranya història d’amor esquitxada de sexe i venjança.

És coneguda la seva passió per la cultura oriental, i més concretament per la japonesa. Escriure aquest guió i situar-lo a Tòquio va ser una excusa poder rodar finalment allà?
“Sí, la cultura japonesa sempre m’ha interessat força: des de el menjar a la literatura, passant per la pintura, el disseny , la moda… Quan vaig començar a escriure aquesta història, com quan començo a escriure la història de qualsevol guió, no penso en la experiència del rodatge, però la veritat és que a l’acabar l’escriptura de Mapa dels sons de Tòquio, sí que vaig pensar, ‘ara no tindré més remei que anar allà una temporada’, i no vaig sentir pena precisament”.

Crec que la gènesis de la història, però, va néixer d’una experiència personal al tradicional mercat de peix Tsukiji, veritat?
“Cada vegada que anava a Tòquio em deien que havia d’anar al mercat del peix. Però t’has de llevar a les 3 per arribar a la subhasta del peix i la idea no em feia gràcia, francament. Finalment quan vaig anar per l’estrena de “La vida secreta de les paraules” m’hi van portar i em va agradar moltíssim. Vaig fer moltíssimes fotos de tot i quan intentava fer-li un retrat a una noia que estava regant la sang de les tonyines, es va enfadar molt i no em va deixar. De tornada a casa al metro, vaig començar a pensar perquè no em va deixar que la fotografiés i així va començar tot”.

Vostè s’ha declarat admiradora de mestres del cinema japonès com Yasujiro Ozu i Mikio Naruse. Va tenir en compte les característiques i peculiaritats del cinema oriental a l’hora de dirigir el seu film?
“Les pel·lícules dels dos m’emocionen molt. Hi ha una cosa absolutament eterna i universal a les pel·lícules d’Ozu. Però jo diria que el fatalisme i les heroïnes de Mikio Naruse són les que més directament m’han influenciat”.

A diferència d’altres pel·lícules que també van ser rodades a Tòquio, com Lost In Translation, però que donen una imatge molt turística de la ciutat, o simplement la prenen com un plató en el que transcorre l’acció, sembla que per vostè una de les màximes preocupacions ha estat intentar retratar la cultura nipona i la manera d’actuar i pensar de la seva gent.
“M’enganyaria si pensés que la meva mirada és més nipona que la del nipons. Però sí que la gent d’allà ja al llegir el guió es sentia retratada, tant amb la història com amb els personatges. També surten barris que mai s’ensenyen de Tòquio com Koenji i Simokitasawa i he intentat fixar-me en coses que els japonesos, com les tenen tant presents a vegades ni se n’adonen”.

Tot i la història de venjança que ens explica, podríem dir que Mapa dels sons de Tòquio, en realitat no deixa de ser una pel·lícula sobre l’amor.
“Sí, és una pel·lícula sobre els amors impossibles i especialment sobre els estranys, i sovint equivocats, camins i formes que adopta l`amor. Tots els personatges estimen, però estimen d’una manera que no els correspon i això els fa prendre les pitjors decisions”.

De tots els seus films, aquest és on el sexe està present d’una manera més explicita. Era una terreny en el que volia explorar?
“Sí. Desprès d’Elegy, on les escenes sexuals estaven rodades d`una manera elegant, tenia ganes de rodar escenes més crues, més reals, on no hi hagués llit, llençols, ni contrallums. Tenia ganes de rodar escenes on es veiés el pur desig, dos cossos radicalment diferents units pel desig i com aquest pot ser un motor molt poderós. També volia ensenyar un aspecte lúdic del sexe. El moment del que estic més orgullosa és quan el Sergi López, el David a la pel·lícula, es treu un pel púbic de la boca”.

Les seves pel·lícules acostumen a tenir com a comú denominador estats emocionals com la soledat i la melancolia. La felicitat no la inspira?
“Des de Tolstoi la felicitat no inspira a ningú. Potser l’últim cineasta al qual la felicitat l’inspirava era Fellini i només a algunes pel·lícules. Jo tinc una visió pessimista del món barrejat amb un gran sentit de l’humor. Si jo fos feliç, segurament no faria pel·lícules, o faria les comèdies de Chistopher Guest que m’agraden molt”.

Seguint aquest fil. Fins a quin punt els guions que escriu i les pel·lícules que dirigeix acaben per afectar la seva vida personal?
“Es clar que afecten, un no pot pretendre que no. Sí fas pel·lícules personals es perquè t’entregues a elles i fiques tot el que ets amb experiències i referències de la teva vida. I quan la gent em parla del que sent i pensa veient les meves pelis i com ho relacionen amb la seva vida és una gran satisfacció. Per això a tots els directors del món que conec, incloent-hi Lars Von Trier, Tarantino i Scorsese se senten afectats per les crítiques, perquè és com si critiquessin la teva visió del món. Encara que jo darrerament m’ho prenc amb sentit de l’humor”.

L’actriu Rinko Kikuchi està sublim en el seu paper. Va ser gràcies a Babel que va saber que la volia per la seva pel·lícula?
“Sí, la vaig veure a Babel i em va agradar moltíssim. La creació que fa del personatge de Ryu a la pel•lícula és impressionant. És una actriu increïble i una persona meravellosa. L’estimo molt i va crear amb tot l’equip uns vincles molt forts”.

Per altra banda, imagino que comptar amb la participació de Sergi López, és gairebé una assegurança de vida.
“El Sergi és collonut. És fort, valent, entregat, divertit, intens quan cal i lleuger també quan cal.
Va ser una experiència vital preciosa treballar amb ell. I també vam riure molt”.

Sent una pel·lícula d’aquestes característiques, una de les seves màximes preocupacions seria que entre els dos personatges sorgís allò que anomenem màgia. Tot i que en aquest aspecte sembla que tot va funcionar de meravella, va haver de treballar molt amb els actors?
“Els primers dos dies d’assaigs van ser durs. El Sergi acabava d’arribar al Japó per primera vegada, no es coneixia amb la Rinko, i tot era nou, aliè i estrany. Però al tercer dia tot va començar a anar com la seda, vam començar a aprofundir en els personatges, vam començar a crear un llenguatge gestual per la seva relació i crec que aquesta estranya alquímia que alguns diuen que és química va aparèixer. Treballar amb la Rinko, el Sergi, Min Tanaka, el narrador de la pel·lícula i que és una llegenda del butho, i la resta d’actors japonesos va ser molt gratificant. Una experiència que no crec que ningú dels que vam participar oblidem mai”.

Crec que durant el rodatge de la pel·lícula va poder conèixer a Murakami, un dels seus escriptors de capçalera, amb qui va tornar a coincidir a Barcelona. Com va resultar l’experiència?
“És un home extraordinari. Durant el rodatge es va estrenar al Japó “Elegy”, i li van demanar del diari més important de Japó que em fes una entrevista. Resulta, i jo no tenia ni idea, que coneixia i li agradaven molt les meves pelis. Va ser tot un honor. I el encontre de Barcelona, promogut per Tusquest, va ser molt divertit. L’admiro molt, per a mi és el millor escriptor japonès de la seva generació”.

Ha pensant en adaptar al cinema alguna de les seves obres?
“Ell diu , en broma, que tinc la obligació de fer-ho, i jo li dic que està buscant una excusa per enfadar-se amb mi. Les seves obres són molt especials. No veig com fer-lis justícia al cinema”.

Ja té en marxa la seva propera història?
“Encara estic pensant. Potser alguna història a prop de casa…”.

Por Beatriz Cebas

Hace ya una semana que se estrenó Mapa de los sonidos de Tokio y desde entonces, la belleza visual de esta película se resiste a abandonarme. No lo puedo evitar, las imágenes de las calles de Tokio con sus hoteles temáticos y su mercado del pescado aún perduran en mi retina y… ¡amenazan con quedarse en mi memoria por mucho tiempo!

A diferencia de lo que han dicho muchos críticos cinematográficos (como nuestro querido Miguel Ángel en La Butaca), para mí ésta es sin duda la mejor cinta de Isabel Coixet, una obra refrescante, evocadora y necesaria. Si bien es cierto que hay algunos puntos donde el guión de la directora catalana flaquea, como la voz en off que narra la historia de Rinko Kikuchi y su particular historia de “amor” (que más bien sería de sexo) con Sergi López, me atrevo a afirmar que Mapa de los sonidos de Tokio es una de las mejores películas españolas de este año.

Cuando la semana pasada acudí al cine, apenas había recibido influencia externa respecto a la película, es decir, no había leído prácticamente nada sobre ella. Únicamente había ojeado un par de entrevistas a la directora y la crítica (no muy favorable) que aparecía en mi diario favorito. Por eso, se puede afirmar que llegué a la sala “limpia”, sin miedo a crearme una idea preconcebida de la película basada en prejuicios tomados de antemano. Cuál ha sido mi sorpresa al comprobar después que prácticamente toda la opinión “especializada” de nuestro país coincide a la hora de infravalorar un trabajo que para mí, en ciertas escenas roza lo magistral.

Realmente me entristezco al comprobar que el talento de esta directora -que ha recuperado a la producción cinematográfica al gran Sergi López- apenas es valorado en España. ¿Por qué la crítica de nuestro país se empeño tanto en echar por tierra el trabajo de todo aquel director patrio que demuestra originalidad, maestría y sobre todo, estilo propio?

He de reconocer que no soy una gran fan de todas las cintas de Coixet. De hecho, La vida secreta de las palabras llegó incluso a aburrirme, pero lo que no se puede negar es que Isabel Coixet es una de las grandes directoras de nuestro país. Por eso (y por contar en sus obras con una actriz tan brillante como Sarah Polley) merece un respeto y admiración que no ha hecho sino aumentar en mí después de ver y disfrutar Mapa de los sonidos de Tokio.

Let’s face it, Hollywood is never going to fund a big-budget original movie ever again.

Search your feelings, you know it to be true.

Marco and I have been talking for a while about doing a series of posts on movies that should be made. Now don’t get me wrong, the projects we’ll be proposing shouldn’t actually be made. In a better world, the budgets would go to real artists who do good work, but that’s not the world we live it, and at Counterforce, we believe in making the best out of a bad situation. Just like Liam Neeson.

no thank you

So, let’s get right down too it. You know, you know they’re going to make an ID4:2 some day, so we might as well make it enjoyably bad. Hell, just the idea of watching this movie instead of some Michael Bay cartoon-adapted crapfest gives me a boner. You can never ever go wrong blowing up as many international landmarks as possible.

Thus, The Counterforce Casting Couch: Independence Day 2

PREMISE:

This is gonna be a little rough, we can fill in the blanks during lighting shifts on the set. So, it’s like 20 years after the event of ID4. Will Smith is the President, obviously. The White House will have just finished being rebuilt and look exactly the same as before. Jeff Goldblum will basically be playing Al Gore. Sorta Green Living Apostle / Technocrat in Chief. Shia LeBeouf is Goldblum’s rebellious kid and Aaron Yoo is his buddy who films all their wacky adventures on his Flip Camera. There will be some drama because Shia doesn’t know his dad was a hero because Goldblum’s role was classified or something.

Ryan Kwanten from True Blood will fill in the Hick Character contingent with his little jailbait sister, Dakota Fanning. I threw a lot of brits into the cast so there can be other groups of characters in the UK and Australia, Iraq, etc. Famke Janssen will play somebody’s wife. Maybe Bill Pullman’s.

So, the Aliens come back, only this time, they come in peace and claim to be seeking asylum. Apparently these aliens are the not-evil faction of the bad guys. Will Smith will have all these mixed feelings because he hates aliens, but doesn’t want to be prejudiced to the nice ones. It will be like that scene in Star Trek 6 where Kirk talks about the klingons who killed his son, only this time it will be Will Smith saying it, and he’ll be talking to the First Dog.

Obviously, the bad aliens come back and destroy a shit-ton more monuments and landmarks. They’ll be led by Nic Cage, who is some kind of evil billionaire who helps the Aliens in exchange for world domination. Definitely gotta sack the Burj Dubai, the White House, Big Ben, the Golden Gate, the Vatican, etc. But this time, the good aliens have shared some of their technology, so the fight is slightly more fair, but earth still gets its ass kicked and the bad aliens occupy the planet. This would all take place on July 2nd.

yeah, that shit's gonna fall

The next day would be a lot of failed counter-offensives and characters hiding from Alien stormtroopers. Then Shia LeBeouf will decide to form a resistance and Aaron Yoo will do all the tech shit to get the word out on the internets. Ryan Kwanten will be there with Dakota, and he’ll turn out to be some kind of hillbilly ass-kicker. I see a scene with him, shirtless, feather tied to the back of his head, destroying enemy food supplies boston-tea-party style. Then we’ll cut to Said Taghmaoui in Iraq with a British accent and he’ll be all, “It’s the Americans, they want to organize a resistance, about bloody time!”

And then July 4th will be the big counter-attack. Aaron Yoo will die. Will Smith will fly an alien fighter ship with Bill Pullman as his wingman. They’ll fight their way to the mothership, land on it, then fight their way to Nic Cage’s lair on the bridge. Somehow, Jeff Goldblum will be there too. A big fistfight later, Will Smith wins, then escapes and Bill Pullman and Jeff Goldblum pilot the Mothership into the sun, sacrificing themselves. Shia hooks up with Dakota Fanning, and then after the credits roll, Samuel L. Jackson walks into a bar to talk to him about the Avengers initiative.

And… scene.

Fuck yeah!

You know you’d pay to see it.

Sinopse:

Bem-vindo ao mundo de Vigaristas, onde enganar é uma arte e nada é o que parece. Os irmãos Bloom aperfeiçoaram suas vigarices através de anos de fraterno trabalho em equipe. Agora eles decidiram assumir um último e espetacular golpe: atrair uma bela e excêntrica herdeira e elaborar um esquema para levá-la em uma viagem ao redor do mundo.

- Achei que seria melhor, mas é bacana.

- Assistido em 12/10/2009

Retrouvez ci-dessous le trailer d’Assault Girls, nouveau projet “live-action” de Mamoru Oshii après Avalon.

Attendu le 19 décembre prochain au Japon, Assault Girls viendra s’inscrire dans la continuité des courts métrages Assault Girl: Kentucky no Hinako et Assault Girl 2. On retrouvera d’ailleurs les héroïnes de ces derniers, Hinako Saeki et Rinko Kikuchi ainsi que Meisa Kuroki dans cet nouvel opus.

Après une guerre thermonucléaire mondiale, la surface de la planète s’est transformé en un champs de bataille désertique où règne les “suna kujira” (baleine de sable). Lourdement armées, trois chasseuses, Gray (Meisa Kuroki), Lucifer (Rinko Kikuchi), et Colonel (Hinako Saeki) tenteront d’éliminer ces monstres. Une lutte qui les conduiront à affronter le plus terrible d’entre eux, le Madara Suna Kujira.

Sources : Official Website – Nippon Cinema – ANN

Mizuhara Kiko(Midori), Matsuyama Kenichi (Watanabe) và  Kikuchi Rinko (Naoko)

pic: japanese.joins.com

Đạo diễn của dự án phim chuyển thể từ cuốn tiểu thuyết nổi tiếng “Rừng Na-Uy” ( ノルウェイの森, 1987) của nhà văn Nhật Bản Haruki Murakami cho biết “Bộ phim sẽ trung thành với nguyên tác”.

Phát biểu bên lề của Liên hoan phim quốc tế Pusan của Hàn Quốc, đạo diễn gốc Việt-Pháp Trần Anh Hùng cho biết “Vâng, tất nhiên chúng tôi sẽ cố gắng càng bám sát (nguyên tác) càng tốt”, và từ chối tiết lộ chi tiết cuộc thảo luận với nhà văn Murakami.

“Tôi hy vọng đó sẽ là một câu chuyện hay, nhưng chắc chắn đó sẽ là một câu chuyện tình”, ông nói.

Bộ phim dự kiến sẽ ra mắt vào tháng 11/2010.

Chỉ ra mắt dàn diễn viên, hãng sản xuất Asmik Ace Entertainment vẫn giữ bí mật về bộ phim và từ chối các yêu cầu phỏng vấn. Diễn viên Nhật Bản Kenichi Matsuyama (24t) sẽ thủ vai chàng sinh viên đại học và Rinko Kikuchi (28), và Kiko Mizuhara (18) vào vai bạn gái của anh.

Đạo diễn Trần nổi tiếng với “Mùi Đu đủ xanh” và “Xích lô”, đã đoạt giải Sư tử vàng tại Liên hoan phim Venice năm 1995, và tạo tiếng vang lớn với “I Come with the Rain” tại LHP Pusan 2009.

credits to: japantoday.com

—————–

Chàng L của Death Note sẽ vào vai chính trong “Rừng Na Uy”? Lạ còn “trung thành với nguyên tác”? Hix >”<  Ôi~ L~

Haizzz… tình hình là đang mê dịch tin (luyện trans Eng. lun)… dần dần cũng dịch nhanh hơn nữa… nên càng mê…

ngày mai. hix. ngày mai nhất định cố gắng. hix. tạm thời “đọan tuyệt” Internet. còn phải sọan cv nữa. còn xin việc làm nữa…. >.<

ôi~ cơm áo không đùa với khách thơ~ (tuy mình hông phải là “khách thơ”)

Writer and director Rian Johnson brings us another bit of cinematic joy. His 2005 noir homage Brick was practically perfection with its timing and cinematographic visualization and that is why I was really enthused about this film no matter the premise.

After watching The Brothers Bloom, I am convinced it was one entire con. But in a good way.

Brothers Stephen (Mark Ruffalo) and Bloom (Adrien Brody) have been shuffled from foster to foster home since they were wee lads. All they ever had was each other and they envied the children who could afford to buy themselves the treats that they wanted, like Rocket pops—a tasty ice cream treat. This lack of fortune causes Stephen to devise a scheme for he and his brother to get everything they ever wanted: They would fashion a con so that the neighborhood kids would give them their money. (The plan is really quite ingenious; their back-up plan is even more so, which is revealed quite jocosely.)

Flash-forward some 20-odd years later and the brothers are well-versed in the art of the con, quite possibly becoming true artistes. Stephen regales in their misadventures, but Bloom is tired of leading a life in which Stephen has written for him. He is unfulfilled and wants out so he escapes to Montenegro only to have Stephen find him–thanks to their colorful partner Bang Bang (Rinko Kikuchi)—and persuade him into one final con. Insert Penelope (Rachel Weisz), a millionaire recluse who easily becomes their target. The only problem is that Penelope’s naive and enthusiastic manner quickly enraptures Bloom.

The film is excellently told from start to finish. The narrator (voiced by Ricky Jay) at the beginning of the story that tells us of the Brothers Bloom’s origins sets the tone for the film. He is ironic, insightful and comical—”Their pocket change bought Rocket pops; the Bloom’s, pixie sticks.” It is perhaps one of the most humorous aspects of the film. Johnson, however, is careful in not revealing too much all at once. He constantly lulls us into believing that we know what will happen next only to completely turn it around and surprise. There is a moment when Penelope is being worked by the con and she is told that a man named Melville is a former associate of the Bloom Brothers. Penelope observes that its rather odd and coincidental that he should be named Melville because Herman Melville wrote The Confidence-Man and the boat they are on is called Fidele which means “confidence.” We are completely shocked that Penelope could quite possibly at that moment unravel the entire con conceived by the Brothers.

What’s more this scene reveals the film’s humor. It is subtle and lighthearted mainly because it was made as an homage to big con movies like The Sting, Dirty Rotten Scoundrels and Paper Moon. It’s almost farcical, yet the script is far too smart to just simply be a farce. Plus, the cast plays into the script excellently without ever being too over-the-top or unbelievable. The chemistry between Brody and Weisz wasn’t on par really, but that fact is overlooked by a nearly perfect portrayal by Ruffalo and a first-rate comedic (and almost silent) performance by Kikuchi. Supporting roles by Robbie Coltrane and Maximilian Schell also offer some droll excitement.

Early on in the film Stephen says, “The perfect con is one where everyone involved gets just the thing they wanted.” If this is true, than Johnson has pulled off a great con, because we, as audience members, are left completely satiated.