Time does not heal any wounds in a “new landscape”, which is a nice local drama, but it is skilled and that begins as a piece of the Tarfar family, fast to one of a cut family, and continues to think about the difficulty of family reform. This distinctive feature is the Japanese director, Japanese director, Yiga Danzuka, which is unbearable, but an intellectual ambition, Wins Yuiga Danzuka, these broken relationships against segmented and rapidly changing urban geography of Tokyo-as determined in its emotional architectural perspective.
In the broader opinion, the “new scene” may be less feasible than the proximity: its extended architectural metaphors are studied and decorated but always read, and the movie has less to say about society in general more than it does from three individuals who are carefully drawn and damaged specifically. However, as a specific personal piece, it is smart and affects, and avoid emotional decisions that exceed the irreparable relationships. After the first show in the two directors of the directors at the Cannes Festival before appearing in the new Asian Talent Competition in Shanghai, the film is guaranteed with more travel on the festival circuit, and attention must be attracted by specialized distributors and broadcasting platforms.
It opens to a wide shot that will be repeated at the end of the film – after ten years of one major character – where a family sits for a meal in an unlimited central stadium. There is a clear cold on the table between the mid -age (Kenichi Endo), a famous architect, and his wife: Haruka Igawa); Its children, who are not calm before adolescence (Arao Rintaro) and his close sister (Ishida Riko), were also examined from this supposed time. They are on their way to the holiday home on the seashore, where the mood does not raise: the parents discuss the separation, the children whisper to each other that my mother is in other stages of “low energy”, while the family’s silence is not broken mainly through the unprecedented Hajimi phone.
After a decade and everything is different, except for this general air of distress. We collect what happened in the decisive period of adults of adults (who is now played by Kodai Kurosaki), who is now a driver of connection to the upscale flower seller, and Amy (My Kerio), who is preparing herself to marry her long -term boyfriend. The siblings are not clearly close, but they maintain a bond rooted in sadness and shock. It appeared that their mother died shortly after the events of the introduction of the film, after which Hajimi eventually abandoned the opening of a practice in Singapore, and buried a set of issues that were not resolved under a set of professional achievements. After he recently returned to Tokyo, he did not follow up with his separate children, although the opportunity to meet with Ren imposes his hand. While EMI is hesitant, her brother hopes that there will be a way of closing that he cannot identify or express.
Taciturn text that was measured in Danzuka is accurate in defining different types of loneliness and self -examination cultivated by the three main characters. Even, it seems more good and socially integrated than REN, is slow to allow others to enter, and the lack of confidence in its ability to maintain a live relationship. Ren, who was beautifully played by Kurosaki with a teenager atmosphere of uncertainty in his skin, protects himself from insecurity by not formulating any links at all – his father’s son may be more than he knows. Meanwhile, Al -Hajimi is working on a controversial Shibua redevelopment project for the displacement of the homeless community. He says his stance, who are not interested in brilliantly in facing the objections of his employees a lot about his long inability to identify the feelings and needs of others.
Film industry is identical to the calm discontent of the characters. Koichi Furuya’s camera is unprecedented but shy of those close, but it tends to explore the dimensions of the space built around the event in any specific scene. Meanwhile, the sound design in Kanchi Iusaki is scattered and determined by absence, which gives way to music only in the intense monuments of the life of the city that does not calm down forward. The shift in the late movie to magical realism is unexpected at work, so otherwise screaming and practical, but finally weaves the conflicting Danzuka message and the broken heart of progress: life continues, even for those who try to keep them and stop it.