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TOFU & BROCCOLI # 3 • Confessions

CONFESSIONS (告白)

story: the baby killer the school of horror.

There is much to say about this film, which was the Japanese candidate for the Oscar foreign quintet, was then excluded. Who knows why. Perhaps because it was too Japanese in content and in form, content and form is not revolutionary but definitely toned to the east.

Ci sarebbe molto da dire e infatti non so da dove iniziare (e rischio di non sapere dove andare a finire). Facciamo che vi risparmio il pippone socio-psico-culturale sull’evidente fascino che i ragazzini killer esercitano nel subconscio giapponese, cosa riscontrabile in qualunque espressione culturale, e mettiamola così: Confessions è l’ Elephant giapponese (quindi Erephant), o meglio, è quello che Elephant sarebbe potuto essere e non è, nemmeno di striscio. Sono uguali e opposti. Ragazzini problematici a scuola, problemi che diventano patologie, patologie che diventano reati, reati che diventano tragedie inconfessabili. Ma dove Elephant va avanti a furia di mutismi e piani sequenza (facendoci two balls a lot), Confessions is parlatissimo until they are exhausted, and assembles five interwoven stories (nailing it to the chair, eyes and ears wide open). I started to see it at eleven o'clock in the evening and feared the abbiocco, nothing's easy with a film in Japanese with English subtitles. Nothing could be further from the truth, the first half hour is a total nuclear bomb, a beginning of a power that is rarely seen, a calculated and cold growing exponentially exploding the first turning point. Then set, but it was logical. In any American film this would be the final half hour. Instead it is the beginning.

And it is only Professor of the monologue, the last day of school makes a confession to his class of thirteen children. The monotonous voice, like Speaker of the mall, at the beginning goes unnoticed, then it becomes annoying, never changes tone is monotonous, when you say cheppalle to change the things he says and then gives way to curiosity, surprise, shock, until you get to hope that the whole movie is like that, she speaks in class, and I swear it would have been better.

the madam here like revenge movie, the undersigned no complacency because of torture and bloody do it willingly do without, but Confessions is a beautiful film of pure vendetta, anzi, di pura punizione, che dire servita fredda è dire poco, con poco sangue e senza tante minacce, di gelida tortura psicologica che scatena un inferno di psicosi concatenate. Ricorda quel gran film che è Old Boy in più di un momento, di nuovo vendette orientali, glaciali, marziali.

Raccontare troppo rovinerebbe le varie sorprese a chi vedrà il film (vedetelo!!) e Confessions è in realtà un sacco di cose, oltre all’Elephant giapponese, al Bowling a Yokohama, allo psicothriller Young Boy delitto e castigo (che infatti è citato, non a caso). È impossibile non pensare al risvolto sociale, specie per chi mastica un po’ di Giappone (anche solo leggendo the manga), impossible not to think that Japan is a country where school bullying is more widespread and with the highest rate of suicide among children-victims, where the authorities (parents, teachers, law) do not know and can not intervene, or in most cases they do not care, because until it becomes an adult fully engaged gear society's invisible, you're a loose cannon alien species that could become anything and we do fear. Impossible not to think about the mothers are absent or voted to make his son a genius ignoring everything else, which are more numerous than you might imagine. Professorin impossible not to notice that the young man who wants to make friend at all costs is absurd as much as his students sketched.

The film fishing profusely from the wounds of the ancient and contemporary Japanese society, which are only exaggerated and distorted the alteration of the problems of adolescent any kid anywhere in the world, and track at least five main characters and many minor, telling a great story with great skill, which is what is required of a film at the end of games without too many turns of phrase (which I I'm lost, I admit).

shape a bit 'lost behind too many slow motion (I'd bet that more than 50% of the film is in slow motion) and with too much saccharine music, but the shape of almost any Japanese cinema, that appears when the crayon always too want to emphasize something, always poised between poetry and mannerism pleased. But when the content save the form, the rest is forgiven. Confessions says nothing that has not already been said over and over again, but he says it in a different language. Geographically, culturally, cinematically different.
little is known of the director, except that in 2004 he shot a Shimotsuma Monogatari aka Kamikaze Girls , with two actresses overflowing Kyoko Fukada as (Miss drones Yattaman ) and Anna Tsuchiya (the protagonist of Sakuran ):

are western, why should I see this film absurd?

Why else Elephant che, la vera scuola è questa dell'orrido. Quello che alle Divise if cela dietro e ai turni Perfette merita di pulizia un'occhiata semper.

[ Alabama ]