Shunichi Nagazaki is perhaps a little known filmmaker in an industry that favors current Japanese presence on film as just a collection of Asian horror, perhaps influenced by the belated success of Shikoku ( Land of the Dead), 1996 . Among his works, we should remember Yamiutsu Shinzo (Heart, Beating in the Dark) 1982 and Yamiutsu Shinzo (Heart, Beating in the Dark) 2005. By way of brief overview, the first film is tracking the lives of a couple who just killed his son. The second version, designed in three parts, is a remake of the original, a sequel, and a documentary. Naturally, with the first film actors reprising their roles.
The film is now concerned me, 旅 を 一緒 に (Travel Company - 2010), is a minimalist analysis further than previous proposals. A long zoom-out reveals a home starting from a minimum corner of the kitchen, which gradually expands the view of the wall, sinks, oven and the rest of it. It is no coincidence the careful distribution of the pan and plate waiting to be washed in sepia tones that gradually fill with color: The astute viewer might deducir la propuesta del filme de esta misma escena. La cámara viaja por el resto del apartamento (un dormitorio aún desordenado, cuartos de baño impecables, una suerte de zaguán desastroso) antes de recalar en la sala, donde una joven pareja se encuentra compartiendo los alimentos, una al lado del otro. En toda la película, sus nombres nunca son dados ni sugeridos: Nagazaki plantea en los créditos simplemente Ella (Ayako Fujitani) y Él (Ryo Kase) a la manera de Anticristo, de Von Tier.
Comen en silencio, mirándose ocasionalmente entre bocados. La misma sola larga toma, que ha empezado en la cocina, va del rostro de ella al rostro de él, una y otra vez. Él mantiene la comida unos segundos en air, and when you are about to engulf, the camera focus on her, chewing. The atmosphere is only disturbed by the stick touching the plates, and a slight breeze that does not really know where it comes from. At some point she breaks the silence (and it is so sudden and sudden you may feel a scream rather than an exclamation) asking "Higurashi no naku koro not?" (When the cicadas cry?) .
A smile forms on his face from him to be about her and kissed her forehead, she collected the finished dish. On a sofa, while only reviewing a journal, mentioned the lack of hunger that he must have to listen from the kitchen "We traveling. "He remains the plate in the room, unfinished, with chopsticks without breaking yet.
The next scene a beautiful shot short of the airport in Narita, seething with people, busy in their own necessities, with a song Kahimi background Karie ( Orly-Narita). They walk side by side, silent, she looked crestfallen and perhaps he a DutyFree. A flashback (expressed by a tiny loans say three months ago ) shows the same couple in the same environment, with diametrically opposed behavior, overflowing with hugs and words of affection, which, truth be told, it is shocking and suspected unnatural, in contrast to the previous scene, to which we return.
She mentions, without looking at the snowglobe that was bought last year begins to run out of water. He does not answer, busy on a soda vending machine. A sigh and further alienation of the protagonist to the counter end up creating the modern atmosphere of loneliness in the crowd, when the greatest silences are created between two people in a world that does not stop to contemplate. Light
visual gags happen halfway through the film: From the confusion when you pick up your luggage at least led him, through the visit to her parents in rural Japan in decline which only reinforces the idea of \u200b\u200babandoning the current world relationships, to the hot afternoon amid cherry trees near the Peace Park in Nagasaki (a nod to the director, no doubt.)
Parents deserve special mention, completely ignoring him, eager to limit her. Without being totally open to dialogue, show affection, concern, need help. It is impossible for us to understand what can be, beyond a clumsy depression or existential angst. It comes to sense that part of the responsibility lies with him, comforting ineffectively at his companion for the two episodes of crying.
Then finally reveals the story.
Upon returning, she finds herself alone in the departure lounge, caressing a snowglobe that recreates, in the manner of Shortbus (2006), places where the film has been developed so far. In a similar way to that night Shahrzad Shahryar narrates the story of a sultan who decapitated virgin at dawn, we run the risk of starting the film again, as the snowglobe leads to a house, starting with a kitchen and slowly shows us a room and a woman eating in silence, next to an empty plate and chopsticks still unbroken: The audience includes not only all the little inconsistencies are not just a woman who has been alone throughout the movie, but the company travel is finding your own paradise lost, wrapped in memories that blur reality.
The final scene in which she returning to her apartment, sitting reviewing a book of entomology, is open to many interpretations. Adds to the confusion the last block dialogue:
- Hello.
- Hello.
- The cicadas in summer, yes?
- Gomenasai . Toma. (Perhaps it can be translated as Sorry, maybe, I'm sorry .)
While embracing see, the camera slowly the table with a new snowglobe, with two pairs of sticks intertwined. Credits are listed.
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