Short film anthologies are pretty much reserved for the festival circuit, and, unless weaved together into a wider narrative structure, their exposure is limited. For Ryusuke Hamaguchi's "Wheel of Fortune and Fantasy", it is largely a companion piece to go alongside his widely fancied "Drive My Car" that it is currently touring with. But, is it more than just an addition to gain him as much exposure as possible in what is becoming his most successful year?
In a trio of unrelated parts, we see stories of chance and opportunity that all backfire on the protagonists, but also result in interesting dialogue between the two opposing characters.
To start, in "Magic (or Something Less Assuring)" Meiko (Kotone Furukawa) chats with friend Tsugumi (Hyunri) in the back of a taxi. Tsugumi discusses her current love interest and her uncertainties about the relationship's future. Listening on, Meiko quickly realises she is discussing her former boyfriend Kazuaki (Ayumu Nakajima): a man with whom her relationship ended badly. Immediately, she confronts him at his office late at night in a heated debate, but the result is not to ward him off Tsugumi, but give the couple her endorsement.
Secondly in "Door Wide Open", after reading the sexually-charged Akutagawa Prize-winning work by Segawa (Kiyohiko Shibukawa), students Nao (Katsuki Mori) and Sasaki (Shouma Kai) plot to blackmail the lecturer when Nao goes to his office to discuss the text. Trying to get privacy, Nao attempts to record their discussion, but Segawa insists his office door is left open while discussing the inspiration for his novel. Nao is taken-aback as she reads from the text, which Segawa enjoys, as she is given something of an education on literature.
To finish, Moka (Fusako Urabe) sees Nana (Aoba Kawai) passing on the escalator outside Sendai train station. Immediately reacting, Moka races to who she believes is her former classmate, with Nana reacting in-kind. Inviting Moka back to her family home, Nana discusses her school days with Moka and how they were never that close. So distant in fact, that as discussions progress, they realise it is a case of mistaken identity; Nana simply going along with Moka's enthusiasm.
For a film which is essentially two-way dialogues throughout, you need a strong script, and Hamaguchi certainly does a good job of writing dialogue which sees the story turned on its head in terms of expectations. Coupled with the actors being given the script to dry run with each other, only delivering any expression 'on the night,' as it were, the emotional changes are cleverly drawn out, almost revelatory.
Interestingly, Hamaguchi starts us off with the most challenging scenario of a love triangle. At times, the debate between Meiko and Kazuaki is irritating as Meiko seemingly confronts him to inform him she doesn't want anything to do with him anymore. But, as is the way with difficult love stories, the discussion is far from easy, and as the talks progress, the pair become more and more on each other's side. However, to start, this isn't an easy entry point for the audience, making it a bold introduction.
"Door Wide Open" is the most comedic of the trio, as the young upstart gets their comeuppance. The sexual nature of Segawa's text will provide some smiles, but the parting shot of Nao's request of Segawa is hilarious in its absurdity. Shibukawa as Segawa is fully deadpan, barely showing a blink of emotion throughout the discussion, almost as if he's toying with the student. This makes his agreement to her request all the more hilarious.
"Once Again" also has a humorous end, but is more a lament on memories of school and growing older. To close, it is the lightest of the three shorts and a more obvious starting point. But, as is the way with each of the dialogues, Hamaguchi turns it on its head, giving us lighter relief as we go on.
With the relative twist offered at the end of "Magic", the style and gimmick of the trio see Hamaguchi do his best impression of Hong Sang-soo, and by definition Eric Rohmer, with his extended and awkward, yet realistic, dialogue between two characters in an unusual situation. This, therefore, can't be considered a completely original work, but one well-constructed and executed.
If this is merely to act as a companion piece to "Drive My Car" to get him greater plaudits at festivals - and points make prizes - then it certainly achieves its aim, but it can certainly go the distance alone.
Politic1983.home.blog.
In a trio of unrelated parts, we see stories of chance and opportunity that all backfire on the protagonists, but also result in interesting dialogue between the two opposing characters.
To start, in "Magic (or Something Less Assuring)" Meiko (Kotone Furukawa) chats with friend Tsugumi (Hyunri) in the back of a taxi. Tsugumi discusses her current love interest and her uncertainties about the relationship's future. Listening on, Meiko quickly realises she is discussing her former boyfriend Kazuaki (Ayumu Nakajima): a man with whom her relationship ended badly. Immediately, she confronts him at his office late at night in a heated debate, but the result is not to ward him off Tsugumi, but give the couple her endorsement.
Secondly in "Door Wide Open", after reading the sexually-charged Akutagawa Prize-winning work by Segawa (Kiyohiko Shibukawa), students Nao (Katsuki Mori) and Sasaki (Shouma Kai) plot to blackmail the lecturer when Nao goes to his office to discuss the text. Trying to get privacy, Nao attempts to record their discussion, but Segawa insists his office door is left open while discussing the inspiration for his novel. Nao is taken-aback as she reads from the text, which Segawa enjoys, as she is given something of an education on literature.
To finish, Moka (Fusako Urabe) sees Nana (Aoba Kawai) passing on the escalator outside Sendai train station. Immediately reacting, Moka races to who she believes is her former classmate, with Nana reacting in-kind. Inviting Moka back to her family home, Nana discusses her school days with Moka and how they were never that close. So distant in fact, that as discussions progress, they realise it is a case of mistaken identity; Nana simply going along with Moka's enthusiasm.
For a film which is essentially two-way dialogues throughout, you need a strong script, and Hamaguchi certainly does a good job of writing dialogue which sees the story turned on its head in terms of expectations. Coupled with the actors being given the script to dry run with each other, only delivering any expression 'on the night,' as it were, the emotional changes are cleverly drawn out, almost revelatory.
Interestingly, Hamaguchi starts us off with the most challenging scenario of a love triangle. At times, the debate between Meiko and Kazuaki is irritating as Meiko seemingly confronts him to inform him she doesn't want anything to do with him anymore. But, as is the way with difficult love stories, the discussion is far from easy, and as the talks progress, the pair become more and more on each other's side. However, to start, this isn't an easy entry point for the audience, making it a bold introduction.
"Door Wide Open" is the most comedic of the trio, as the young upstart gets their comeuppance. The sexual nature of Segawa's text will provide some smiles, but the parting shot of Nao's request of Segawa is hilarious in its absurdity. Shibukawa as Segawa is fully deadpan, barely showing a blink of emotion throughout the discussion, almost as if he's toying with the student. This makes his agreement to her request all the more hilarious.
"Once Again" also has a humorous end, but is more a lament on memories of school and growing older. To close, it is the lightest of the three shorts and a more obvious starting point. But, as is the way with each of the dialogues, Hamaguchi turns it on its head, giving us lighter relief as we go on.
With the relative twist offered at the end of "Magic", the style and gimmick of the trio see Hamaguchi do his best impression of Hong Sang-soo, and by definition Eric Rohmer, with his extended and awkward, yet realistic, dialogue between two characters in an unusual situation. This, therefore, can't be considered a completely original work, but one well-constructed and executed.
If this is merely to act as a companion piece to "Drive My Car" to get him greater plaudits at festivals - and points make prizes - then it certainly achieves its aim, but it can certainly go the distance alone.
Politic1983.home.blog.