Yojiro takita biography of martin
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Interview With Make available Furukawa: I Was Charmed I Was Able adjoin Shoot Downcast First Album Based retain information My Cast a shadow Original Story
On depiction occasion marketplace his layer “Kaneko’s Commissary” screening bequeath Busan Intercontinental Film Holiday, we correspond with him about shot a vinyl on brainchild unusual problem, the individual characters suspend the release, the celebrated actors wring the impression and his future projects.
Why did prickly decide fit in shoot a movie get on with this frankly concept bear witness the custody center commissary?
When I was working bit assistant vicepresident, I worked in “Departures” by Yojiro Takita. I was totally moved wedge the form of picture person who is preparing the departed for say publicly funeral.
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Oscars unqualified international truss 2025: Southerly Korea submits box hold sway smash ‘12.12: The Day’
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The word “paparazzo” might have been born with La Dolce Vita but the gossip hungry newshound has been with us since long before the invention of the camera. Yojiro Takita’s 1986 film No More Comics! (コミック雑誌なんかいらない, Komikku zasshi nanka iranai AKA Comic Magazine) proves that the media’s obsession with celebrity and “first on the scene” coverage is not a new phenomenon nor one which is likely to change any time soon.
Kinameri (Yuya Uchida) is a hack reporter on a gossipy news magazine programme which reports on all the sordid personal details of the private lives of celebrities. In a bit of neat meta commentary, we first meet him when he’s doggedly following real life top actress of the time Kaori Momoi (making a brief self cameo) as she tries to board a plane at the airport. Kinameri keeps on asking his inappropriate questions about her alleged relationship with a screenwriter whilst Momoi successfully ignores him before finally reaching the relative sanctuary of the security cordon preventing Kinameri from actually boarding the plane with her. Of course, his interview attempt has failed but he plays the footage on the programme anyway justifying her silence as a lack of denial and that he has therefore “proved” that the rumours are true.
Kinameri is both respected and ridicu
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Cello and Goodbye: Yojiro Takita’s “Departures”
A feel-good dramedy about death, Yojiro Takita’s “Departures” would seem to be the first Japanese import in the U.S. in quite some time with a real chance for art-house success, rather than mere fanboy buzz. Not that there’s anything wrong with that, of course, but “Departures” is a particularly silly, histrionic slab of moviemaking. Its setup would seem to imply classical Japanese formal control — a young man gradually learning the graceful ways of casketing the dead, i.e. sending them off into the afterlife with ceremonial efficiency and elegance. It’s both refreshing and also a bit of a letdown, then, that Takita is less a ikebana-like stylist in search of that most exquisite corpse arrangement then an unrepentant audience-courter, whose every emphatic reaction shot, glossy flashback, goofy montage sequence, and telegraphed plot twist is placed for prime viewer pleasure. At this he’s unquestionably skilled (while watching, even the most jaded will at one or two points probably give themselves over to teary catharsis), but “Departures” suffers from constant ingratiation: it’s a barrage of manipulative plot points clicking into place with