Despite the Japanese GirlBand Stardom, the strange director who revolves around “the love of trial”, a drama of amazing rhythm prices that constantly get out of interesting situations from the preserved situations prepared. When there is a possibility of unclear comments on the bright nature of modern celebrities, Fucoa’s inclined approach has every rhythm of Bubsung’s presentation on a ring that never ends: everything is not useful, there is no attractive hook.
HappyfanFare is a hard -working clothes of five girls, which were together for four years. They rose to the top of the center, and they are eagerly looking to upgrade them to the bottom of the top. The scenes of the establishment of “love in the trial” are doing a decent work to cancel the scope of this medium immediately from artistic surfaces and shiny surfaces, and we are watching the band roaming a small stage to perform the synchronous dance design to almost a medium -sized mobilization composed of adult men. This is part of the disturbance, the conference of part of the fans, the meat market is part, all public relations opportunities.
After that, the girls meet and accuse the fans so that the fans can get a little time with their favorite band member. Her administration-which is represented by the healer, Saya (Kata Erika), former from the same idols and its distant president, Kenjiro Tsuda-monitors the popularity of girls not only as a unit but individually, with each other with the possibility of a more clear position with the award. The thing with you is a festival: someone should always be in the middle.
Currently, the focus is on Mai (Kyoko Saito, which brings its time as a member of the J-Pop GirlBand Hinatazaka46 to Bear). But Yuna Nakamura closes, as shown by the creeping obsessive -obsessive, who claims to bought 50 copies of the last individual song just because he reached the front of her line. In response to its growing profile-which all girls complement with only a style webcam-it has given the lead on its next path (which looks exactly like the last). But then leaked footage of Nanaka Canoodsing with her boyfriend, direct broadcasting player with his great followers. On the contrary, for such sexual symbols of sexual culture, the band members are strictly prevented from dating, and it was better to maintain the image of the more important purity, which is part of the contradictory gravity of this continuous fictional dream. The destruction of this imagination can be dangerous, as it is proven when Superfan appears from NANAKA that is indispensable in its next event, and this time it practices smoke bombs and a knife.
For such a high drama, the chaser’s attack was shot through “Drive My Car” dp hidetoshi shinomiya and its editor Selfifi Lagher is largely like the rest of the movie, with minimal rotation or the dynamic construction of tension ranging from borders. Indeed, the accident is mostly a way to push May into its unlawful crushing arms. She and her former colleague Ku Kura re -calling after he coincided with him as he was acting in the streets/MIME one night. But Mai keeps Platonic things although, as a few of the surreal prosperity suggested, their attractiveness is strong enough to make his delusions in fact challenge physics. However, this changes the night of the attack, when you withdraw the concern in Van and Mai Clambles, giving up the base of its fans and colleagues in the band and managing it for love.
So, this is an opportunity, almost in the middle of the road, to bend to a good -style romance. Instead, Fukada, who participated in writing with Shintaro Mitani, exceeds eight months when the administration is sued Mai (and Kei, strangely) to violate the Draconian ethical paragraph of the Happyfanfare contract. The rest of the film is largely revealed in the halls of the halls of sterile halls without windows as the conditions of the unethical agreement (if it is clear that the standard) is reviewed, and the pressures of the experiment appear the relationship of the two young couple.
But before she met Ki, May was contradictory about the lifestyle of the idol, so her departure, despite a surprise, is not unexpected. More importantly, in focusing on the sexual injustice of this aspect of the GirlBand Industrial Complex, it gives somewhat Fucoada the rest of the huge rated machines to manufacture celebrities and consumption. Despite its wild color fluctuations, “Fox Lux” for Bardi Corbit, for example, felt vibrant ideas about toxic Vandum; Even Parker Vin “Smile 2” had a lot to say about hypocrisy in the pop world. Here, it seems as if Fukada cannot get a sufficient distance from the J-POP phenomenon to see strange or condemn its division except in one small area, through a small gesture of the challenge, which will hardly be launched in the cycle of exploitation, when every girl ignores or ignores each other other relationships.