Watched it in MOOSIC LAB Competition 2021 edition last night after tons of failed attempts to see it (awful timing, tickets unexpectedly sold out in no time etc.). It explores rare niche among the youth theme itself, namely post-teen existential crisis.
It's kinda an unique and rather absurd (in good way) movie, reminds me of Miki Satoshi's works a lot (i.e. Jikou Keisatsu, Instant Numa, Atami no Sousakan to name a few). The influence is quite clear, especially the atmosphere, sense of humor, style of direction, random events happening throughout, and slow tempo. One might argue it lacks something to move the plot forward and even at times blur reality and fantasy, but I think it's done in purpose to create the unique atmosphere throughout the show. You've been warned, this one isn't for everyone despite the theme. And oh, the ending is worth a note too (won't spoil it right now, you'd better see it by yourselves, if it's available some time later). Ono Rina once again shows that she's THE most underrated (and arguably underused) youngster in the industry, it's not only her sheer versatility (I've been talking about this a lot) but also her emotion control too, which she uses herein to great effect.
Pretty decent and well-executed little, if not a bit too short, tanpatsu. Usually I don't watch LGBT+ themed shows (don't get me wrong, it's just not my cup of tea) and don't think this one would win major accolades, but it piques my interest anyhow. I think the best quality of this show lies on Hotta Mayu's acting, it's quite on point here. Quite classy and excellent in showing vulnerable emotions. She proves that she can very well carry a show.
Yup. I think Sara Minami & Ryoko Fujino deserves to be on the list. I just forgot to update this list after I…
Oh wait, so you already followed her career before Kirishima? Doubt she lead anything in that period (let alone top roles). I didn't even barely remembered her back then.
This series need another season, especially if the original material is still on continuation, with new set of student cast because Takayanagi stays at the school. We haven't seen enough explanation why he becomes the teacher he is. We've seen him in a verge of breakdown after dealing with Takasaki-Tokigawa duo (ep.5) and subtle glimpses of his lapses in ep.6 (see his dialogue with Aizawa at the beginning of the episode), and finally at the last episode too. It would be great if we see a bit more of his past in the next season, if there's any.
Lastly, I like the touch of realism at the end of penultimate episode a lot.
Saw it in 2021's edition of Osaka Asian Film Festival. The theme it brought is a recurring one - a really shy kid who gets from zero-to-hero, with dashes of local ingenuity of Japanese regional countryside. This one was set in Tsugaru area at the northern tip of Honshu (the main island of Japan), which is renowned for apple production. However, it has its own charm too and use the above ingenuity to pretty good effect. Komai Ren as the lead does really well too, granted she hails from Tsugaru but her portrayal here as a super shy girl is quite believable. A nice change of pace compared to her previous roles so far (i.e. a model student in Asa ga Kuru) to flex her versatily acting muscle too. And her performance with shamisen (the string musical instrument she holds in the poster) in the end of the movie is a blast - one might think she's a pro shamisen player. Can't wait to see her in Namae too, which is in my watch list (I just found it's now available in Youtube Movies, although still unsubbed).
2 
It's kinda an unique and rather absurd (in good way) movie, reminds me of Miki Satoshi's works a lot (i.e. Jikou Keisatsu, Instant Numa, Atami no Sousakan to name a few). The influence is quite clear, especially the atmosphere, sense of humor, style of direction, random events happening throughout, and slow tempo. One might argue it lacks something to move the plot forward and even at times blur reality and fantasy, but I think it's done in purpose to create the unique atmosphere throughout the show. You've been warned, this one isn't for everyone despite the theme. And oh, the ending is worth a note too (won't spoil it right now, you'd better see it by yourselves, if it's available some time later). Ono Rina once again shows that she's THE most underrated (and arguably underused) youngster in the industry, it's not only her sheer versatility (I've been talking about this a lot) but also her emotion control too, which she uses herein to great effect.
8.0/10
Minami Sara (2002) https://kisskh.at/people/15850-minami-sara
Fujino Ryoko (2000) https://kisskh.at/people/13250-fujino-ryoko
Komai Ren (2000) https://kisskh.at/people/12390-komai-ren
Ono Rina (2000) https://kisskh.at/people/22716-ono-rina
Nakata Seina (2000) https://kisskh.at/people/17721-nakata-seina
Kayashima Mizuki (2004) https://kisskh.at/people/58757-kayashima-mizuki
Kiryu Sakura (2004) https://kisskh.at/people/23182-yanagita-sakura
Lastly, I like the touch of realism at the end of penultimate episode a lot.
8.0/10
https://kisskh.at/profile/lontongstroong/feeds/0QKlDHN