Kind of boring, but in a good way. Tokyo Kazoku

Berlinale!

 

The first film festival that I ever went to was Berlinale back in February 2008. I fell in love with a film called The Black Balloon, which ended up winning the crystal bear and becoming a very well known art house film in Australia. I fell in love with Rhys Wakefield after I met him at some after party, and secretly stalked his facebook page for a fair few months afterwards.  I’ve been to the Berlinale three times since in 2009, 2012 and 2013 but haven’t stalked any other actors. …Yet.

This year I went to the world premiere of Yôji Yamada’s Tokyo Kazoku (English title is Tokyo Family). Apart from the unimaginative title and completely ridiculous timeslot for such a long film (starting at 21:15 and finishing after midnight), it was rather interesting to watch. The film tells the simple story of the struggles and misunderstandings of the wartime Japanese generation and their offspring in today’s society.

My first impression of the film was that it was a slow, poorly acted film that embraced every familial stereotype. However, once the older generation made an appearance, a glimmer of hope returned. It was near impossible not to fall in love with Kazuko Yoshiyuki’s character. She played the bright-eyed yet traditional grandmother beautifully. Her grumpy counterpart (played by Isao Hashizume) was rather entertaining, but ultimately heart wrenching.

A very slow tempo and simple camera shots continue throughout the film. Although these elements were not as complex as we have come to expect in Western cinema, they were necessary to tell the story. The film follows a clear chronology, which is sometimes broken for an unexpected insight into one of the numerous characters. Despite the simple narrative, the film drew an interesting line between the known and the unknown for a western audience. The universal themes of family, life and death were considered in a completely foreign culture. The generation gap and familial relationships were interesting to view, especially when surrounded by young Berliners who have such a complex relationship with their Second World War relatives. The lack of emotional bonding between the grandparents, and both younger generations was very evident. The living conditions shown were also fun to observe, as everything is so compact and intimate in comparison to what I know.

Although I ultimately enjoyed this film, I question whether this was simply because it was a refreshing variance from films that I am generally exposed to. The deep characterization was thoroughly enjoyable and the insight into modern Japanese culture was fascinating. I do however question the film’s potential interest for a Japanese audience due to its simplicity. 

Here's me in front of a Berlinale Bear! This was taken after I saw Prince Avalanche the next day.

Till next time,

Ellie x

Thank God Will Smith was busy.

Django.

Copyright 2012 Weinstein Company.

Feet? Check.
Camera shot down the barrel of the gun? Check.
Tarantino cameo? Check.
Gore? Check.
Thoroughly entertaining? Absolutely.

Tarantino seldom disappoints. Like most, I thoroughly enjoy a good Tarantino fix. The only thing I would talk about when I was 13 was his guest directing of CSI: Crime Scene Investigation. My (then) favourite show and a director unlike any other? I was obsessed.

Watching Django in a small independent cinema in Berlin made my experience of Django Unchained even better. Dr. King Schultz was loved by the audience from the moment he entered on his tooth wiggling carriage, to his abrupt end. Every time he said anything in German or did anything remotely badass, a titter filled the room, occasionally accompanied by applause. However, it was Leonardo who look the cake for me. I loved seeing him in his very first antagonistic role. His performance never faltered, even when he actually cut open his hand mid monologue. Jamie Foxx was also fabulous. Like the rest of the world, I am unbelievably glad that Will Smith was unable to play the role Django like Tarantino wanted, and not only because it gave the male loving population an excuse to stare at Foxx's beautiful body. Smith's acting style could never have brought the same amount of much needed subtlety  and passion to such a bombastic film.

Tarantino's love of the Aussie Ocker film period is openly celebrated during his cameo. Even without the ever so creepy Wolf Creek laugh, Australians may recognise the cameo of John Jarratt. However, this scene could have had so much more to it. It felt stale and useless in a film that was otherwise so jam packed with content. Entire storylines and characters were cut (we missed you Joseph Gordon Levitt), yet this scene stayed as long as it was? Tarantino's horrendous accent was also distracting.

As he furthers his status as becoming a cult film legend, I feel like Tarantino may be forced to include typically Tarantino characteristics, even if they don't further the narrative of the film. However, if it's a matter of pleasing Tarantino fans, I for one was hooked.

This is the last photo on my phone. It's my valentines day gift.


Love, Ellie