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The existential drift of Japan’s post-bubble “lost generation” gets the mystery thriller treatment in Kei Ishikawa’s Venice Horizons entry, A Man.
Based on the novel of the same name by Japanese author Keiichiro Hirano, A Man follows a troubled lawyer (Satoshi Tsumabuki) who is drawn into a web of mystery when a former client (played by a soulful Sakura Ando, star of Hirokazu Kore-eda’s Palme d’Or winner Shoplifters) asks him to investigate the mysterious past of her deceased husband (a beguiling Masataka Kubota). The attorney encounters an array of colorful characters in his pursuit of the identify of this man who lived his life as a different person — but as he comes closer to the shocking truth, mixed feelings about the nature of his own place in the world steadily creep up on him.
“Shochiku came to me with...
The existential drift of Japan’s post-bubble “lost generation” gets the mystery thriller treatment in Kei Ishikawa’s Venice Horizons entry, A Man.
Based on the novel of the same name by Japanese author Keiichiro Hirano, A Man follows a troubled lawyer (Satoshi Tsumabuki) who is drawn into a web of mystery when a former client (played by a soulful Sakura Ando, star of Hirokazu Kore-eda’s Palme d’Or winner Shoplifters) asks him to investigate the mysterious past of her deceased husband (a beguiling Masataka Kubota). The attorney encounters an array of colorful characters in his pursuit of the identify of this man who lived his life as a different person — but as he comes closer to the shocking truth, mixed feelings about the nature of his own place in the world steadily creep up on him.
“Shochiku came to me with...
- 9/4/2022
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
Alpha Violet founding co-heads Virginie Devesa and Keiko Funato are at the Venice Film Festival this year with Indonesian filmmaker Makbul Mubarak’s first film Autobiography, which plays in Horizons ahead of trips to Toronto and London among other festivals.
The coming-of-age drama, exploring the legacy of Indonesia’s 30-year military dictatorship, revolves around a young boy working as a housekeeper in the empty mansion of a retired general.
Venice Film Festival: Memorable Moments 1945-1984 Gallery
Devesa and Funato, who fete the 10th anniversary of their Paris-based sales boutique Alpha Violet in October, have a strong record of launching debut features on the Lido having previously handled Japanese filmmaker Kei Ishikawa’s 2016 feature Gukoroku, Traces of Sin and Greek director Christos Nikou’s 2020 breakout Apples, which both played in Horizons.
Neither title won the top prize, but both works put the directors on the international festival and industry map. Ishikawa...
The coming-of-age drama, exploring the legacy of Indonesia’s 30-year military dictatorship, revolves around a young boy working as a housekeeper in the empty mansion of a retired general.
Venice Film Festival: Memorable Moments 1945-1984 Gallery
Devesa and Funato, who fete the 10th anniversary of their Paris-based sales boutique Alpha Violet in October, have a strong record of launching debut features on the Lido having previously handled Japanese filmmaker Kei Ishikawa’s 2016 feature Gukoroku, Traces of Sin and Greek director Christos Nikou’s 2020 breakout Apples, which both played in Horizons.
Neither title won the top prize, but both works put the directors on the international festival and industry map. Ishikawa...
- 9/2/2022
- by Melanie Goodfellow
- Deadline Film + TV
The Good Thief: Ishikawa Explores the Tenuous Reality of Identity
As its elemental title suggests, Kei Ishikawa’s fourth film, A Man, asserts we can only ever really know for certain the most basic information about someone else, based almost solely on the superficial presentation of their person. The rest is subject to interpretation and, well, we usually have to take someone’s word for it when they disclose more private details about who they are.
In keeping with his past films, such as Gukoroku (2016) and Listen to the Universe (2019), Ishikawa combines elements of individuals searching for themselves with a thriller procedural constantly shifting when new information comes to light.…...
As its elemental title suggests, Kei Ishikawa’s fourth film, A Man, asserts we can only ever really know for certain the most basic information about someone else, based almost solely on the superficial presentation of their person. The rest is subject to interpretation and, well, we usually have to take someone’s word for it when they disclose more private details about who they are.
In keeping with his past films, such as Gukoroku (2016) and Listen to the Universe (2019), Ishikawa combines elements of individuals searching for themselves with a thriller procedural constantly shifting when new information comes to light.…...
- 9/1/2022
- by Nicholas Bell
- IONCINEMA.com
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Japanese mystery drama A Man, the second feature of rising Japanese director Kei Ishikawa, inked a batch of sales heading into its world premiere in Venice’s Horizons section.
Art House Films picked up the film for France, Pigeon Co. took it for Taiwan and Golden Scene snatched Hong Kong and Macau rights.
Based on the novel of the same name by Japanese author Keiichiro Hirano, A Man follows a troubled lawyer (Satoshi Tsumabuki) who is drawn into a web of mystery when a former client asks him to investigate the mysterious past of her deceased husband (a beguiling Masataka Kubota). The attorney encounters an array of people in his pursuit of the identify of a man who lived his life as a different person — but as he comes closer to the shocking truth, mixed feelings about the nature of his own place...
Japanese mystery drama A Man, the second feature of rising Japanese director Kei Ishikawa, inked a batch of sales heading into its world premiere in Venice’s Horizons section.
Art House Films picked up the film for France, Pigeon Co. took it for Taiwan and Golden Scene snatched Hong Kong and Macau rights.
Based on the novel of the same name by Japanese author Keiichiro Hirano, A Man follows a troubled lawyer (Satoshi Tsumabuki) who is drawn into a web of mystery when a former client asks him to investigate the mysterious past of her deceased husband (a beguiling Masataka Kubota). The attorney encounters an array of people in his pursuit of the identify of a man who lived his life as a different person — but as he comes closer to the shocking truth, mixed feelings about the nature of his own place...
- 9/1/2022
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
Click here to read the full article.
Two of the most anticipated Japanese films showing at the Venice Film Festival this year — Kei Ishikawa’s mystery drama A Man (2022) and a digitally remastered version of Yasujirō Ozu’s timeless classic A Hen in the Wind (1948) — share a uniquely curious distinction. The two Japanese films, separated by 74 years, were both written in the exact same room.
Ozu, one of the great masters of cinema history, famously spent long stretches of the 1940s and 1950s — his most productive period — residing and working at Chigasaki-kan, a small ryokan, or traditional Japanese inn, located on a quiet stretch of coast to the southwest of Tokyo. Ozu’s hideaway within the inn was its “niban no oheya,” or “room 2.” A modest space befitting an Ozu drama, the room was designed in Japan’s traditional washitsu style: tatami mats, a simple floor-level table and sliding shoji...
Two of the most anticipated Japanese films showing at the Venice Film Festival this year — Kei Ishikawa’s mystery drama A Man (2022) and a digitally remastered version of Yasujirō Ozu’s timeless classic A Hen in the Wind (1948) — share a uniquely curious distinction. The two Japanese films, separated by 74 years, were both written in the exact same room.
Ozu, one of the great masters of cinema history, famously spent long stretches of the 1940s and 1950s — his most productive period — residing and working at Chigasaki-kan, a small ryokan, or traditional Japanese inn, located on a quiet stretch of coast to the southwest of Tokyo. Ozu’s hideaway within the inn was its “niban no oheya,” or “room 2.” A modest space befitting an Ozu drama, the room was designed in Japan’s traditional washitsu style: tatami mats, a simple floor-level table and sliding shoji...
- 9/1/2022
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
Click here to read the full article.
For the 79th Venice Film Festival, artistic director Alberto Barbera has put together one of the most well-curated lineups of his career. Both studios and streamers are well represented.
Netflix scored an opening-night coup with Noah Baumbach’s White Noise, with buzz promising that it’ll wow the Lido, alongside Andrew Dominik’s Marilyn Monroe biopic, Blonde, with Ana de Armas; Alejandro G. Iñárritu’s Mexican epic Bardo, False Chronicle of a Handful of Truths; and Romain Gavras’ French action thriller Athena.
Studio fare is well represented by Warner Bros.’ Don’t Worry Darling from director Olivia Wilde; Focus has Todd Field’s Tár with Cate Blanchett and Mark Strong; MGM will debut Luca Guadagnino’s Timothée Chalamet-Taylor Russell starrer Bones and All; Searchlight presents The Banshees of Inisherin from Three Billboards Outside Ebbing, Missouri director Martin McDonagh; and Sony Pictures Classics will be...
For the 79th Venice Film Festival, artistic director Alberto Barbera has put together one of the most well-curated lineups of his career. Both studios and streamers are well represented.
Netflix scored an opening-night coup with Noah Baumbach’s White Noise, with buzz promising that it’ll wow the Lido, alongside Andrew Dominik’s Marilyn Monroe biopic, Blonde, with Ana de Armas; Alejandro G. Iñárritu’s Mexican epic Bardo, False Chronicle of a Handful of Truths; and Romain Gavras’ French action thriller Athena.
Studio fare is well represented by Warner Bros.’ Don’t Worry Darling from director Olivia Wilde; Focus has Todd Field’s Tár with Cate Blanchett and Mark Strong; MGM will debut Luca Guadagnino’s Timothée Chalamet-Taylor Russell starrer Bones and All; Searchlight presents The Banshees of Inisherin from Three Billboards Outside Ebbing, Missouri director Martin McDonagh; and Sony Pictures Classics will be...
- 8/30/2022
- by Scott Roxborough
- The Hollywood Reporter - Movie News
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