Love in a Puff 志明與春嬌 (Chi ming yu chun giu) [2010] • Hong Kong

A foul-mouthed little romance here. Lots of f-bombs and dick or boob jokes tossed around to try and elevate this fairly standard rom-dramedy from the pack. It's not too offensive or juvenile and it's shame to have to get it through subtitles. I'm sure the original Cantonese is more subtle and euphemism based, and crude is always more palatable when it's subtle or funny. Love in a Puff has a CAT III rating and it's not for nudity or all the cigarette smoking.

The premise of Love in a Puff is one all cigarette smokers will be familiar with. The "smoke break" is a time to bond with co-workers or friends, to make plans and share stories, and, in this case, tell dirty jokes and gossip. It's also an opportunity to massage in baby steps a possibly romantic relationship. There's a lot less "Is this a date?" pressure than even just meeting for coffee. There's a pre-determined end time and it comes quickly. If things aren't going well the suffering is short-lived and if there is a spark you'll leave wanting more. Always a good thing.

Zoom out from the premise and Love in a Puff makes many observations on modern SMS-based relationships, budding and otherwise. Something I learned, and put to use, from this film is if you type "i n 55!W !" (without the quotes) into a text message your recipient might see it as some nonsense code, but if they turn their phone upside down it will read "i miss u !". How cute. And appropriately enough, that little tidbit is the catalyst for a couple of the larger emotional transitions in the film.

I like small films like this, the cinematic equivalent, if you will, of a smoke break. Without aiming too high it's easy to hit its mark. It's well acted, and well scripted for the most part, and doesn't veer from its target too often, which is following the seven day courtship of Cherie (Miriam Yeung) and Jimmy (Shawn Yue). Yeung is especially crisp in her performance. There's a wonderful little "no shit!" moment near the end of the film when the two of them are in a small battle about who they are and what kind of relationship they're in and Cherie declares "I'm simple and straightforward". She is.

My only quibble with the film is an unavoidable one. To go from "My name's Cherie", through moving out of the premises and bond of one relationship, to "I'm simple and straightforward" in seven days requires a brisk pace. Maybe that's the way it is these days. There is a time or two where it seems like a little exposition might have ended up on the cutting room floor but maybe things are clearer in the original language and subtitles short of an essay couldn't translate it. Most of the screen time is devoted to the main protagonists, garnished with a handful of side characters and set pieces that don't detract from the lit up screen chemistry required of all good Rom-Coms and provided by Yeung and Yue. All in all a fun time was had with Love in a Puff.

★★★★

Director:
Starring:
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Her Island, My Island (Fune o oritara kanojo no shima) 船を降りたら彼女の島 Getting Off the Boat at Her Island [2003] • Japan

Lots of beautiful scenery of Matsuyama, Ehime, Japan but a few too many long scenes of people just standing there looking at it. There is also nothing particularly cinematic about the cinematography so it just spills across the screen at the level of an average tourist video.

For the sentimental nostalgic types the story might be a compelling one. Kuriko (Yoshino Kimura) grew up on the island but left for Tokyo as soon as she graduated high school. At twenty-five she's about to be married and returns to the island for the first time in two years to soak in and remember all that was wonderful about it before finally leaving it fully behind. Something I found a little strange is that her father doesn't recognize her when she shows up. It has only been two years since her last visit and her father is not losing his mind or anything. I think this bit of non-recognition is meant to be metaphorical, emphasizing the fact that Koriko is now a city girl more than an island girl.

Kimura plays the part well and there are a number of attempts in the script to create an emotional connection with the viewer but most of them come up short. Kuriko's father's character is the typical silent type so communication is difficult. Her mom is efficient and cheerful. There's a burly fisherman who still has a crush on Kuriko who Kuriko uses to take her to find her long lost friend whom she bonded deeply with as a teenager. He turns up dead. We've seen all these tropes before.

Finally, the english subtitles leave a lot to be desired, making things difficult to follow at times.

★★

Director: Itsumichi Isomura
Starring: Yoshino Kimura, Ren Ôsugi, Naoko Otani, Shouei, Kuranosuke Sasaki
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Japan Times 

A Piece of Our Life カケラ (Kakera) [2010] • Japan

In the "Making of" documentary on the Love Exposure DVD director Sono Sion says to Hikari Mitsushima, “You’re an actress. You’re supposed to move us. Move us, you idiot!” She must have taken it to heart. She was great in Love Exposure and she's the main reason I like this film. She doesn't have a lot of dialog in A Piece of Our Life but she is constantly communicating, through body language and projecting her internals. That's something good actors do.

A Piece of Our Life is a story about two very different young women who end up spending time together. It's not a lesbian love story. There are no make-out scenes or naked bodies entwined in soft focus. No politics. The two protagonists just happen to be women. That's a healthy notion and could have made for a much better movie if one of the women didn't actually discourse about it. "It's not about if you're a man or a woman. You should have someone who you think feels good" might sound like words of wisdom but to me they sound like words from a director who is afraid her audience won't get it unless she spells it out.

There are many subtle and wonderful details in A Piece of Our Life, such as when Riko (Eriko Nakamura), the aggressive and confident one, asks Haru (Hikari Mitsushima) if she liked their "kiss for friendship" and Haru says "No" and the scene cuts away. Haru's response isn't one of objection or disgust. It's simple and honest, even if born a bit from surprise. There are also a few details which are just plain wrong, such as why does the quiet woman, who's probably never imagined dating another woman before, have to start out being in a relationship with an asshole, a guy with terrible table manners who uses her only for sex while he openly has another girlfriend on the side? That seems like a cheap and lazy juxtaposition against Riko's declaration that she likes women because "they're soft and cuddly, and they smell nice". It snuggles up to close to the tired idea that women only choose other women after they've become thoroughly disgusted by disgusting men.

I also think Riko's character was a lot smarter than the way she acts every time the couple interacts with a third party: when Haru's (ex)boyfriend comes over; when a man approaches Haru in the nightclub; when Riko shows up at Haru's university party. Riko acts childish and jealous. This seems at odds with the maturity Riko shows when dealing with her other girlfriend: "I can't fulfill the hollow you have in your heart".

There are a lot of things to like about this film. It's got a simple, honest, and wonderful vision which it explores with some effectiveness, and the two lead performances are outstanding. But it could have been a really, really great film instead of a really good one if it would have practiced what it preaches and left out more of the stuff we've seen, heard, and grown tired of before.

Momoko Ando is a young director to keep an eye on. A Piece of Our Life is one of the best and brightest films I've seen recently. My criticisms are born of a frustration that the director came just short of making an other-worldly masterpiece by adding in elements she just wanted to make a point of rather than letting the world of the film dictate the boundaries. 

Just shy of five:

★★★★

Director: Momoko Andô
Starring: Hikari Mitsushima, Eriko Nakamura, Ken Mitsuishi, Tasuku Nagaoka, Rino Katase

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Millennium Mambo 千禧曼波 (Qianxi manbo) [2001] • Taiwan

I can only imagine that at some point Hsiao-Hsien Hou found himself with a mad crush on Shu Qi and decided to make a film for her, or of her ... or to her ... or something. People can quibble all day long on whether Hou's anti-cinema springs from genius or pretention, but a film like this ought to be able to escape such discussion because it's really nothing more than a love poem to, or of, or for ... or something ... a beautiful actress. This is a Shu Qi vehicle from top to bottom and the film rests on her shoulders, in her hair, on her lips, in her eyes, on her hips, and everywhere else about her über-photogenic self. Marry that to the fact that one of the best cinematographers in the business, Mark "Ping Bing" Lee is shooting this film and you're going to end up with gorgeous. Add a contemporary throbbing techno soundtrack and you get a hypnotic, slow, empty, and depressing film that's pretty close to cool.

I happen to think Shu Qi is a fine and very intelligent actress. I also like slow, empty, and depressing arthouse films if the characters appeal to me so everything works out as far as I'm concerned. If you don't like Shu Qi you probably won't like this film. There's no real plot to speak of and only a thin story about a woman who likes to hang out in nightclubs, smokes a LOT, does drugs and has crummy sex with her loser boyfriend, meets a gangster, loses a gangster ... fade to black. Awesome.

★★★★

Director: Hsiao-Hsien Hou
Starring: Shu Qi, Jack Kao, Chun-hao Tuan, Yi-Hsuan Chen, Jun Takeuchi
IMDb
Beyond Hollywood

Nobody to Watch Over Me 誰も守ってくれない (Dare mo mamotte kurenai) [2008] • Japan

This film starts with a title card message saying "In the event a minor commits a serious criminal offense police authorities may seek to shield the minor's family from excessive media scrutiny and public hostility. The protection is given to prevent members of the accused's family from taking their own lives in response to the trauma."

Some eighteen year boy is hauled off for allegedly killing two grade school children. The media is all over his house. The cops are too. One cop is assigned to protect the boy's fifteen year old sister. He made a mistake in the past and has a shaky hand. He's two days away from taking a vacation to save his marriage. Yawn. A reporter is gonna make his life hell. Stupid plot. Even stupider is when the reporter confronts the cop and tells him the fifteen year old girl should be killed as punishment for what her brother did. And then they show internet messages going around calling for the death of the little girl. Oh, and the mother kills herself in her bathroom while twenty cops sit around not protecting her. The cop protecting the little girl takes her to his shrink's house so we can get more scoop on his problems. He then goes back to the little girl's house to get her cell phone because she said she would be embarrassed if the cops read her email. Not like any of the twenty cops already there might have found it or thought it might be useful as evidence. The cop brings it back to the girl and one of her friends calls her up and says "Bummer your mom committed suicide, huh?"

This movie is so full of stupid I switched it off halfway through. People will claim that this is a side of Japanese culture westerners don't know about. I say prove it. The fact that everything else about this film is so dumb I have no reason to believe the part about the press and public calling for the death of the little girl to be representative of anything but nonsense and bad writing. The parents, maybe. But the little girl? I'm not buying it.

This was Japan's official entry to the Oscars. WTF?

★

IMDb

Funuke Show Some Love, You Losers! 腑抜けども、悲しみの愛を見せろ (Funuke domo, kanashimi no ai wo misero) [2007] • Japan

This is what Japanese cinema is all about: A good title, twisted family drama, black humor that hurts more than it tickles, a little sexual deviance, beautiful women. Funuke Show Some Love, You Losers! has it all.

The films starts with a gruesome bus accident that kills the parents of siblings Shinji, Sumika, and Kiyomi. Kiyomi, an aspiring manga artist, witnesses it and decides the images would make good material for her next project. Four years ago, in their countryside home, elder sister Sumika (Eriko Sato) carved a checkerboard into her father's forehead because he wouldn't finance her dream of moving to Tokyo to become an actress. She turned to prostitution. Younger sister Kiyomi (Aimi Satsukawa) used her sister's actions as manga material and got it published. Sumika, in shame, left for Tokyo. The two sisters have not gotten along since. The death of the parents comes at a good time for Sumika who hasn't made it as an actress and is deeply in debt. She returns to her country homestead in the hopes of collecting some inheritance but finds out there isn't any. The rest of the story, although intricately woven, is not important here. Suffice to say the three siblings have deep dark secrets and rivalries that come boiling to the surface. It's the performances that make this film so good.

Robo-babe, pin-up girl, horror queen, and Cutie Honey: Live Action star Eriko Sato gives the performance of her career as the relentlessly cruel and self-absorbed Sumika. Sometimes a role is just made for someone, and Sato takes this one and runs with it. Aimi Satsukawa brings wonderful pathos to the asthmatic, innocent yet deeply disturbed, Kiyomi. Veteran actor Masatoshi Nagase is solid and creepy as the brother who's gone where brothers are not supposed to go with sister Sumika. Sato is the star of the film and the whole thing would be unbearably dark and cruel if it weren't for the hilarious and wholesome performance of Hiromi Nagasaku as Shinji's wife, Machiko. Shinji procured Machiko via a marriage agency and Machiko, wanting to escape the demands and false hopes of the city thinks she will settle nicely into the lives of some good ol' down home country folk. Oops. Nagasaku, deservedly, has won multiple awards for her performance. She elevates every film she is in and this one is no exception. She plays the straight man to all the morbid cruelty going on around her. Her Machiko is as much of a failure as everyone else but she hasn't learned to take it out on others. She just wants everyone to get along.

Funuke Show Some Love, You Losers! takes the theme of dysfunctional family drama and wrings it dry. If you like your humor dark and cruel, punctuated with double-takes that are sweet, wholesome, and absurd, you'll love this movie.

★★★★★

Director: Daihachi Yoshida
Starring: Eriko Sato, Aimi Satsukawa, Hiromi Nagasaku, Masatoshi Nagase, Seiji Nozoe
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Sada 戯作・阿部定の生涯 [1998] • Japan

Forget that this is another entry in the dramatization of Sada Abe's life and crime of killing her lover and cutting off his man-parts, most infamously portrayed in the sexually explicit In the Realm of the Senses, and ignore all the commentary that molds the story into a historical and social context for your academic pleasure, and never mind that these kinds of stories always start off with the girl being raped as a teenager. All those things involve too much thinking. Just kick back and enjoy this as another odd but fairly well-executed film by director Nobuhiko Obayashi.

The first things you'll notice about the film are the narrative and filmic techniques used by Obayashi. Characters break the Fourth Wall; there's a mix of black & white and color photography which is interesting and useful some times and random at others; some jump-cut editing use is mostly abandoned after the first act; the costuming, both traditional and modern, is gorgeous; there's a fabulous stop-motion sequence in the middle that starts with Sada reading a book while her lover sits near her having a snack, they do the hanky-panky and then resume their initial activities, and there are several moments of Keystone Kops style comedy. After that you should find it to be a fascinating character study of a strong and intelligent woman.

Hitomi Kuroki is amazing as Sada. Her characterization remains a constant as she effortlessly transitions through the varied styles of presentation Obayashi employs. She is always elegant, beautiful, sensuous, and in control. She is also very genuine, which comes off as quite sexy. (For the curious, there is zero nudity in this version of the story, not even a glimpse of Sada's notoriously cute butt. The closest we get, in a brilliant directorial move, is an odd-angled, extreme close-up of her fully kimonoed posterior. There are lots of bare shoulders and legs, and there are several sex scenes but they are mostly played either artfully or comically.)

Sada may serve it's nominal content respectfully and respectably but it comes off so much more as a film than a biography that if it's approached with an educational curiosity its style may frustrate. Watch it for the whimsical stylings of the director and the lovely and remarkable performance of Hitomi Kuroki.

★★★★

Director: Nobuhiko Obayashi
Starring: Hitomi Kuroki, Kataoka Tsutaro, Miki Norihei, Shiina Kippei, Negishi Toshie, Renji Ishibashi
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Switching - Goodbye Me 転校生 -さよなら あなた- (Tenkôsei: Sayonara anata) [2007] • Japan

It cracks me up the way the Japanese (and the Koreans do this too), concoct these un-named, incurable diseases and then treat them as just another plot point, no big deal really. Someone dies here, but this information isn't really a spoiler because it doesn't matter. It's not what the movie is about. Switching - Goodbye Me is the story of two fifteen year old kids, a boy and a girl, who switch bodies and learn about themselves, their relationships, and love. It's a theme that's been done before. In fact, Switching - Goodbye Me is a remake by the same director of a very well received film he made in 1982 called I Are You, You Am Me (Tenkosei).

Switching - Goodbye Me is filled with beautiful cinematography that seems a pay grade above the level of film it's operating in. The acting is all very good, especially from the two teenagers gender-hopping as the leads, and the script is quirky smart. I was a little surprised by the very casual but to-the-point dialog about nuts and boobs and "body parts that change shape" when you touch them. Not because I don't think fifteen year old kids talk about these things but because these two fifteen year old kids are presented as something close to the epitome of innocence. That's the beauty of this film. It's somewhat skewed all the way through. Even the camera angles are all mostly from off the horizontal plane. And the typically Japanese ability to hurl fast-paced absurd dialog at you with a straight face makes for an odd yet peaceful roller-coaster ride.

The first hour of the film is pretty much comedy, turning a bit more dramatic for the second hour. The ending is a slow fizzle which attempts to wrap things up with an upbeat message when it really just rolls over and plays dead. But it doesn't matter. Unless you know for sure you don't like movies about teenagers, I highly recommend this film. It's a family film with a subversive yet sweet underbelly. Kids will get the weirdness and parents will never feel like things have gone too far. The characters are well-developed and likable and it's a very good looking film. A final shout out to both of the teenage actors. They do a remarkable job of channeling the opposite sex, mostly through body language and speech patterns. Switching - Goodbye Me should leave you smiling most of the way through.

★★★★

Director: Nobuhiko Obayashi
Starring: Misako Renbutsu, Naoyuki Morita, Misa Shimizu, Saki Terashima, 
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Greenberg [2010] • USA

I dislike it when there are moments in a film that seem to reflect the writer or director's personal need to express their opinion instead of springing from the natural interactions of its characters. So what to make of a film that seems from beginning to end to be playing out inside the writer/director Noah Baumbach's head? Well, if it's interesting it's interesting, I guess. And I choose the notoriously vague word interesting intentionally. It's like pornography: difficult to define but you know it when you see it. If you don't find articulate ruminations on a life of disappointment, or character studies of people who are imperfect but capable of being attractive, interesting, you won't like this film.

On a technical level, Greenberg is solid. The production values are all good, the music is well chosen and the sets and costuming are fine because they're pretty much invisible, but all that's no big deal. The editing approach is one that pauses, or simply moves on from a scene rather than finishing it allowing the viewer a moment's reflection to create echoes as the film progresses. What really shines is the script. Almost every line of dialog in this film is funny. Not laugh out loud funny, but amusing in its delivery, simplicity, or unexpectedness. And then it comes down to performance.

Ben Stiller's introspective deadpan character is very well suited to Greenberg. He's a guy who says things that many people only think. He's introduced as someone who has spent time in a hospital for mental patients, adding an edge which, brilliantly, is never realized. As I watched this film I kept thinking of the scene from the promotional television commercial for it where Stiller speaks bluntly to some twenty-somethings about his views on the younger generation, and I couldn't imagine how that scene was going to fit into what I was seeing. The film presents a much more subdued character than that commercial implies.

Greenberg is a slow boil and the two other main players are just as muted in their performances. Rhys Ifans plays an old friend of Greenberg and rolls along every time he's onscreen as if he's just gotten out of bed and is too tired to disagree with anything. The highlight of the film is Greta Gerwig. She literally says "Okay" to everything. Her performance is a breath of fresh air, charming and unpretentious, artfully unartful. Contrast it to the small role played by Baumbach's real life wife, Jennifer Jason Leigh. She's become an indie diva, and her appearance is the only thing that brings the film out of its sweet brutal little universe.

I've been a fan of Noah Baumbach since Kicking and Screaming, and his latest film reinforces my admiration of his work. Greenberg is a nearly perfect bit of intelligent and thoughtful film making.

★★★★★

Director: Noah Baumbach
Starring: Ben Stiller, Greta Gerwig, Rhys Ifans
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