Josh Parmer's Top 15 Japanese Films of 2017

TOP 15 JAPANESE FILMS OF 2017

15.) BAMY - dir. Jun Tanaka

Admittedly BAMY is a film that frustrates me as much as it does entertain and haunt me. That said, the good outweighs the bad and here Jun Tanaka crafts one of the creepiest and effective ghost stories seen in a very long time, from anywhere in the world. With its long plethora of festival runs, I wouldn't be surprised if this snags some international releases, and rightfully so. If you are looking for a solid J-horror experience in 2017, look no further.

14.) Party 'Round the Globe - dir. Hirobumi Watanabe

Watanabe's 4th and most recent feature premiered at this year's Tokyo International Film Festival, where Hirobumi and his brother Yuji have become sort of rock stars at. His newest effort may technically be my least favorite of his output thus far but it is by no means a bad film whatsoever. In fact it is a lot of fun and Hirobumi and Gaku Imamura both give wonderful performances coupled with the same hilarious chemistry they displayed in their previous Poolsideman. Party 'Round the Globe is a beautiful and funny celebration of life in all of its simple glory!

13.) Going the Distance - dir. Yujiro Matsumoto

Though it premiered in 2016 technically, Camera Japan 2017 picked Mr. Matsumoto's debut film as part of its official selection, giving me the opportunity to put it on this year's list. Going the Distance is a heartbreaking tale of brotherhood and a failing relantionship, with a broken boxer at the center of a choosing between these two on which to save. While the film stumbles at times, Shinichiro Matsuura really carries the film on his shoulders with gravitas and his chemistry with Masahiro Umeda really elevates it where the story does not occasionally. Yujiro Matsumoto will be a director to keep a close eye on!

12.) Yamato (California) - dir. Daisuke Miyazaki

At this year's Japan Cuts film festival in New York, a little indie film beatboxed and rapped its way into the heart of this unexpected fan. Miyazaki blends elements of hip-hop and rap with the gritty isolation of youth theme found in plenty of indie features this day in Japanese cinema. In doing so he has crafted a unique and unforgettable world, focusing with a sharp social commentary on life by the U.S military bases in Japan. Kan Hanae delivers one of the finest perfomances of the years as the budding young rapper looking for her own way and voice in this hectic world.

11.) At the Terrace - dir. Kenji Yamauchi

One of the most unique cinematic experiences of the year goes to Yamauchi's very stage theatric celebratory nod, the one location centric At the Terrace. Some of the finest written dialogue in quite sometime with some of the funniest banter I've ever witnessed. I don't want to spoil anything but nice little twists and turns coupled with some very interesting and eye-catching cinematography make for one of the year's most entertaining films. Also, the end credits still linger with me after many months and bring a smile to my face.

10.) Alley Cat - dir. Hideo Sakaki

Keeping up with most releases coming out of Japan, it shocked me that I knew nothing of this one going into it for Japan Cuts this year, but I'm very glad to have experienced this one blind. A wonderful and at times dark but highly entertaining and fruitful journey. A sort of throwback to the buddy cop (albeit they aren't cops at all) movies of yesteryear, Alley Cat is one of the most charming films on this list. Really a shame this movie won't see much play outside of its home country. I could see this one doing quite well stateside. It's a little niche naturally, but fairly accessible in its narrative structure and delivery. Plus it has some pretty awesome boxing moments scattered throughout and an adorable cat that ties everything together quite nicely.

9.) Hengyoro (Queer Fish Lane) - dir. Go Takamine

To say I don't entirely comprehend this experimental work is a vast understatement, but to say it is one of the most strangely profound cinematic experiences of the year seems to be representative of the truth. When someone embarks on this unique journey, it is quite clear from the get go whether you are on board or not. I loved every second of it, and frankly can't wait to revisit. Does that sell anyone? No. Do I highly recommend you see for yourself? Absolutely.

8.) Antiporno - dir. Sion Sono

Sono, the meistro of chaotic cinema, gives his biggest middle finger to the system yet with the powerful and highly enraged examination of the objectification of women in cinema with the very loud and equally beautiful Antiporno. Fans, like myself in this case, that were worried that Mr. Sono was travelling off the beaten path should have no worries with this wonderful and welcoming return to form. Must be noted that I have yet to his 2015 arthouse endeavor, The Whispering Star, which everyone hails as a masterpiece. Regardless, this marks a high point in Sono's recent and more entertainment than thought provoking oriented output and I applaud it for its brave and blunt approach to the topic at hand!

7.) Love and Other Cults - dir. Eiji Uchida

Not since the aforementioned Sion Sono, have I been as thrilled by a modern Japanese director with constant intriguing output. 2013's indie gem Greatful Dead and 2016's even more rewarding Lowlife Love helped to force Eiji Uchida into my heart and this year's outing by the genius cemented my affinity towards his works and moved him into the upper echelon of my favorite working directors today, from anywhere. Uchida seemed to take the best elements of his previous two works and meshed them into a near masterpiece. Love and Other Cults is one of the most original pieces of work in years. Everything about it is near perfect and since I'm only doing little blurbs here, to save you time, go seek it out... now!

6.) The Sower - dir. Takeuchi Yosuke

One of the most heartwrenching films this year as stands as one of the finest directorial debuts in recent memory. Takeuchi Yosuke takes inspiration from the famous paintings of Jean-Francois Millet and Vincent Van Gogh sharing the same title as the film, The Sower focuses on the downfall of a close knit family when a tragedy strikes after the children's estranged uncle Mitsuo shows up one day. Without spoiling, what ensues is one the most beautiful and pure cases of raw acting I've seen displayed. The acting comes so natural, it felt like a documentary at times. Not a single misfire nor mistep throughout the entire film. A near masterpiece.

5.) Journey of the Tortoise - dir. Tadashi Nagayama

A last minute pick that I only watched the day of crafting this list, Journey of the Tortoise is a hilarious and moving road movie about a man, his son and their tortoise. Living a seemingly "normal" life, the three are bombarded in their daily routine as the boy's uncle and his fiancee suddenly burst into their house. They force them to go on a road trip to their suddenly slapdash wedding ceremony and once they embark towards the destination at hand, things quickly begin to spiral out of control. The entire plot of the film itself is goofy and the tone is fun overall but shifts throughout. It's very much a you're in or you're out kind of film, and for those willing to take the ride, you are in for a special treat. It's a unique comedy with an endearing and fearless performance by its leading man, Tomoki Kimura, making for one of my absolute favortie performances of the year, if not my very favorite. Fingers crossed a boutique label picks this one up for release outside of Japan.

4.) Noise - dir. Matsumoto Yusaku

Another directorial debut that absolutely blew me away this year was Matsumoto's masterfully woven labyrinth of broken souls, the highly thought provoking Noise. The film focuses around the aftermath of the Akihabara massacre that occured in 2008, where a man ran over and then proceeded to stab over a dozen people in a random attack in the world renown shopping plaza in Tokyo. We follow several victims, related said tragedy, and see their daily lives. I could go on but the plot itself requires more space than I should use up. Simply put, Noise says a lot about broken society circles in Japan and how one event can change the course of your entire life forever. Echoes of Lee Sang-il are felt throughout and for a first time director to compete on the same level as a master of the medium, I cannot wait to see where this young filmmaker goes next.

Note: Easily 2017's best cinematography.

3.) Love and Goodbye and Hawaii - dir. Shingo Matsumura

A simple yet delightful and poignant story of a man and woman going through a break up. Going into this one initially I wasn't really sure what I was going to get out of it, but ended up pleasantly surprised. It feels very warm and endearing with the two leads having perfect chemistry. It's very funny at times and sad at others. Shingo Matsumura crafts the perfect type of romance movie that feels so true to life. Filled with plenty of memorable moments and one of my favorite endings of the year, Love and Goodbye and Hawaii is familiar yet fresh. Just the right amount of every ingredient you could want for this type of work. In a world filled with so much negativity and darkness, this little movie shines brightly and needs sought out by many more movie goers.

2.) Tokyo Idols - dir. Kyoko Miyake

The sole documentary on my list this year shook me to my core and left me feeling disgusted. Tokyo Idols focuses on a few up and coming pop idols as these ladies essentially sell themselves out to typically old perverted men, feeling as if that is their only choice at meaning something and being known in their society. There is so much more to it than that and it shows at heartbreaking side of Japanese culture that I had only heard about. It opened my eyes to something I frankly wish I hadn't had to have experienced but I'm very glad I have. The industry that puts these young girls  on a pedestal as these "superior men" gravel at their feet, worshipping their every breath, has left a bad taste in my mouth and broken my heart. This is the kind of documentary that will have people talking and the type of filmmaking to truly make waves in a society and hopefully change the course of its people. Tokyo Idols one of the most important films of modern times.

1.) Poolsideman - dir. Hirobumi Watanabe

Back at the beginning of the year, in January if memory serves correct, I had the great pleasure of seeing this indie gem, which premiered at 2016's Tokyo International Film Festival, which I thought would prevent it from making this list. Thankfully someone came along and gave Poolsideman its proper theatrical run in Japan and justified my putting it here. Hirobumi Watanabe took the best elements from both of his previous works and crafted the funniest and chilling experience of 2017. The mundane and repetitious life of an inside pool worker who engages in only the most vile of real life world news headlines in his spare time, slowly and meticulously builds to the single most haunting ending I can think of in a very long time. The cinematography is simply beautiful and the rhythm of the editing and scenes accompanied by equally effective music by Yuji Watanabe and a silent but powerful perfomance by first timer Gaku Imamura, puts Poolsideman at a very deserved number one spot. This is the unique type of cinematic experience that only happens once in a while, and its relevance in the current state of the world demands it to be seen by more. Let's just hope it finds the crowd it deserves!

Written by Josh Parmer 

Love and Other Cults (2017)

Director: Eiji Uchida

Notable Cast: Sairi Itoh, Kenta Suga, Kaito Yoshimura, Hanae Kan, Ami Tomite, Antony, Hana Matsumoto, Nanami Kawakami, Katsuya Maiguma, Matthew Chozick, Taro Yabe, Yoshimasa Kando, Denden


Eiji Uchida has become a household name with indie distributor Third Window Films, leading the company to jump into the production world 100% on their own with Lowlife Love. With the surprise success of said project, Adam (TWF) and Eiji have teamed up once again for another crazy and wonderful production... Love and Other Cults.

Ai is a girl who is budding into a young woman, but the world she inhabits seems to vehemently reject her existence, and she finds herself hopping about various groups of living, seemingly absorbing herself in blend as a chameleon, only to shortly thereafter continue that hop. Along the way she meets some interesting characters, all nasty in a certain sense, but as the story unfolds, so do the reasons behind these characters brokenness.

Interview With Adam Torel

       

AN INTERVIEW

WITH

ADAM TOREL

Written by Josh Parmer

JP: Before we jump into things, what movies have you been into recently? I know you watch a ton of films.

AT: Hmm, I guess some things I’ve liked a lot recently are: Ken and Kazu, Three Stories of Love, Happy Hour, Being Good, and Pieta in the Toilet.

JP: Anything that really stands out of the bunch?

AT: Ken and Kazu probably. A first time, young Japanese filmmaker with a very tight and entertaining genre title done on a minuscule budget. Would compare it to Yang Ik-joon’s Breathless in many ways.

JP: Where did your passion for cinema start, and in particular, your love of Japanese cinema?

AT: I’ve been into cinema since I was very young, and worked at many cinemas and video rental shops as a teenager. I guess I learnt the most working at a shop in Florida in the US called Video Renaissance, which had about 35,000 titles, including thousands of out of print VHS tapes and such. It was heaven. I had insomnia at the time, and with that, plus watching while at the shop, I would watch 8 films a day! 

I would watch a lot of French and Italian titles of the 60's when I was young (I’ve been into 60's culture, fashion and music since a very young age) and from there I got into Japanese 60's films, which opened the door to all other sorts of Japanese cinema. 

JP: Which directors and performers from Japanese cinema stick out to you the most, and why?

AT: I guess since I got into 60's cinema, the directors like Nagisa Oshima, Seijin Suzuki, Yasuharu Hasebe, Yasuzo Masumura were the ones who got me into Japanese cinema and whom I loved from an early age. Then of course genre directors like Kinji Fukusasku and Kenji Misumi had a lot of impact on me. Recently of course, Takeshi Kitano, Shinya Tsukamoto, Sogo Ishii, Sion Sono and Takashi Miike are all very important!

Three classic Kitano films available through Third Window Films.

JP: How did the idea for Third Window Films come about?

AT: From an early age I always wanted to help promote Japanese cinema as much as I could, whether teaching lectures at a nearby University, suggesting titles at the video shop I worked in, or in other ways. At the same there was not much available on the internet or not many ways to find Japanese titles in the West (compared to the Hong Kong or Korean new wave, which were mostly available with English subtitles in one format or another), so I wanted to get into distribution. 

I moved back to the UK (I had been living in the US) and got a job at Tartan Films for a year, but despite my initial admiration for the company, I found working there was a totally different ballgame, so I decided to leave and start up my own distribution company and started Third Window in 2005, at the age of 22. 

JP: Being a huge fan of Asian cinema myself, and buying lots of films from all over the world, I really found myself attracted to your company, but as time goes on, I sometimes feel slightly worried. You take some risky choices in the titles you release, and I completely respect that and am very thankful that you do so, but how dangerous can that be for your company? You have to know going in that certain films aren't going to sell very well. What's your philosophy behind your picking in choosing?

Adam talking about Be My Baby at a festival.

AT: Yes, a while ago, when there were still high street retailers and no VOD, it was much easier to release obscure titles, even getting small theatrical releases (imagine, if you can, that titles like Fine Totally Fine and Funuke played in cinemas! That would NEVER happen now), so it was never as much a ‘risk’ as people would think, as these were obscure titles which no other distributor in the world had interest in taking on, so they weren’t expensive. Nowadays even Takashi Miike titles like Lesson of Evil are a risk! Even in recent years I’ve tried to squeeze in some super indie titles like Makeup Room, Shady, Be My Baby, etc. by sandwiching them between Shinya Tsukamoto or Takeshi Kitano classics, but it’s becoming close to impossible.

In fact, what I really love, is releasing small and unknown titles, but it’s just too tough nowadays and in fact, I’m losing all passion for what I love due to not being able to achieve anything from small titles. I guess that’s why I’ve recently been handling worldwide sales on Japanese titles, as it allows me to get titles into festivals and other distributors without having any risk onto myself, yet being able to get the titles out there nonetheless. 

JP: What are some of your favorite titles in the TWF catalog?

AT: That’s a hard question! I guess titles I’ve been the most proud (due to their success) are ones such as Confessions, Love Exposure, Kamikaze Girls, and Fish Story. Favorites would be, I guess maybe Memories of Matsuko, or Turtles are Surprisingly Fast Swimmers, or Fine Totally Fine. I don’t know, it’s too hard!

Confessions

JP: How about a least favorite title, if that is possible?

Least favorite would be Teenage Hooker Became a Killing Machine, which I bought at a time when I was doing really poorly with other titles and needed something to sell (of which it did!).

JP: What's been the most rewarding experience for you in your career thus far? and also, which is your favorite and least favorite Third Window title you've released.

AT: Possibly the release of Confessions? I was the first to acquire and release it, and without any other staff, managed to get it into 50 cinemas, then sold massive amounts of DVDs and blu-rays, etc, yet without spending much money and having a poster design which was borrowed by so many other international distribution companies. I think that I really set the ball rolling on that title, and considering of all the other international distributors, that Third Window is really the smallest by far (in terms of money, man-power, etc.) I feel quite proud for what I did on that title. 

JP: So, for something for me personally, and I am sure some people are interested out there, when and how were you introduced to the works of Shinya Tsukamoto, and how has your relationship with him developed throughout the years? He seem so unique a person.

Shinya Tsukamoto

AT: Introduced as in first watched? I don’t remember to be honest. Must have been as a teenager with some of his earlier works, tough his long-time producer and sales agent has been a close friend since I started Third Window, so that helped me get into the position of being able to handle his titles, as I bought Kotoko off her, which probably started it all. As Tsukamoto recently took the majority of his catalog back (international copyrights and such), it allowed the whole restoration work to happen, as I could work directly with him.

He’s a super amazing guy, and working directly with a director who owns the copyright to his work is almost impossible outside of the super super indie scene in Japan. Even directors like Sogo Ishii, whose work I’ve tried to do the same with, have titles which copyrights are held in film committees from years back, which make it super hard to do similar to what I did with Tsukamoto. With Tsukamoto I suggested the idea a few years ago and he was very interested and since it was hassle free we just worked together on all aspects without needing to get other companies involved, so it was a fantastic experience.

JP: Are there any plans to do anymore Tsukamoto titles in the future? I know you've openly hinted at Vital, once the rights lapse.

AT: Yeah, I really wanted to do Vital next, but just found out the rights are held by Tartan until like 2024! So that’s impossible and a shame, as I don’t expect Tartan to release on blu-ray!

JP: With the older Tsukmaoto releases and your recent and forthcoming releases of the Takeshi Kitano films (which Hana-bi looks gorgeous by the way), is this going to become something more regular with TWF? More directors to look into? They seem to selling well.

AT: Yeah, though as much as these are all great classics from the past and big loves of mine (Hana-bi is in my top 3 of all time), being very honest, I don’t really enjoy it too much… They sell decently and I’m sure many people are happy about their releases, but at the same time there are so many great companies like Arrow, Eureka, etc. who handle more classic Japanese cinema to a much higher level than I, and were I to start focusing on that aspect of distribution, then who would be releasing new Japanese cinema, especially independent titles? Well, I guess nobody is, as there isn’t much of a market left due to massive video retail price decreases and VOD, but if it all disappears then I’ll feel that all I’ve done over the past 10 years would have been in vain…

JP: Shifting gears a bit, talk about your love of music. I see where you are constantly doing DJ'ing gigs. Where did it all start there, and what are some of your favorite artists?

AT:  Like movies, I’ve been into music since a very young age, and also into finding out about bands and artists who never made it big and trying to introduce them to people, which is what I guess I do with DJ-ing. I’ve been collecting records since I was a teenager and have about 5,000 or so, most of which are rare 60's and 70's soul 7 inches. 

DJ Adam

My favorite band are The Impressions and favorite album is The Young Mods Forgotten Story by The Impressions, but some of my favorite 7 inches which I own the originals of (and regularly put them into my DJ sets) are: Roy Roberts – So Much in Love (Sugar), Coco and Ben – Good Feeling (Earth World), Montclairs – Hey You, Don’t Fight It (Arch), Fortson and Scott – Sweet Lover (Pzazz) and Lil Major Williams – Girl, Don’t Leave Me (Palladium)

JP: You have done a bit of production work (Land of Hope and Fuku-chan of Fukufuku Flats), but recently you fully financed and independently produced your (Third Window Films) first feature film, Eiji Uchida's Lowlife Love. It was a success through a Kickstarter campaign and some lost beloved records of yours, but it's seemed to paid off. Tell us a bit about how that came to be, and the process. 

AT: Yeah, selling those records was super tough! I’m not lying when I say I shed many a tear, but can’t be helped I guess. Still have a lot of my favorite tunes so I try not to think about the ones I sold! Fuku-chan and Land of Hope were huge failures (financially, despite critical successes) and I had terrible experiences in the Japanese film committee system, so if anything I learnt a huge amount! With both Fuku-chan and Land of Hope I had worked on the idea of building up the directors name internationally, so producing a title would mean that there was already an outlet plus a financial back-up plan internationally if it failed to recoup domestically, so I took that same idea with Uchida Eiji by handling Greatful Dead and also becoming close to him as a person and professional in the process. (cont'd)...

Lowlife Love director Eiji Uchida with Adam Torel

AT (cont'd): I respect him a lot and he said that he wanted to make a new film and have me produce it, so we decided to keep it super independent and not having any film committee nonsense, but at the same time trying hard to keep the quality high. Luckily both him and I have loads of contacts in the industry so I raised the money with crowdfunding in both the UK and Japan, sold a bunch of records and called in favors from many actors and professionals to get it under way. It was a super tough shoot, but if you think about it, there’s nowhere else in the world where you can get such a talented and famous cast together with a high quality technical team (we shot with the new Red Dragon camera, which is only used in top films in Japan, not like in the West) and shoot a feature for such a small amount (our budget was under £30,000 and we paid everyone!).

JP: So, will we see more production work from TWF? 

AT: I plan to do a little more on the independent side here, probably with Uchida again, but want to take a break for a while and recoup both financially and mentally before doing too much more… I’d like to start a family at some point so want to focus on that over the next few years!

JP: Are there any possible upcoming titles you could mention, for the fans?

Ken and Kazu

AT: well, there are the 3 Kitanos out for the first few months of 2016, then Uzumasa Limelight at the end of April before Sion Sono’s Love and Peace in July. There’s also 2 more Kitanos: Kids Return and Scene at the Sea out later this year plus the Japanese indie title Ken and Kazu.

       

JP: You've talked in great length about the state of Japanese cinema, and how complicated and ridiculous it is about its self-containment. What do you see in the future of Japanese film, and do you think the doors will open more for getting films out to a more international audience? 

AT: Maybe the Olympics will help, plus if the 'Cool Japan' fund focuses a little more on film, but if anything it’ll just be the usual big budget titles which continue to be seen worldwide. When I say the Olympics, it’s mostly to do with if Japanese learn to, or practice speaking English better, as one of the big stumbling blocks for the promotion speakers in the independent scene and their of Japanese cinema overseas is the lack of English and lack of understanding about the international market. It’s not just cinema which is self-contained, but Japan is really more of an island and self-contained society than most people realize.

JP: What do you think about Japanese cinema appeals more to the U.K versus something like Korean cinema? I've heard Korean films tend to not perform as well for you guys.

AT: I think Korean cinema appeals much more to an international market as their focus is on technical quality, which is at a level miles above Japan. Also their marketing internationally, including better quality posters and trailers help them achieve much more. It’s just that I still think Japanese have better stories and more originality, while Korean cinema is too genre orientated with a lack of young and independent directors. If only they could mix the two, Japanese originality and storytelling with Korean technical quality…

JP: So what's next for you?

AT: Focusing this year fully on international and domestic promotion of Lowlife Love.

The whole gang of Lowlife Love

JP: If you had to pick 1 film and 1 album to spend the rest of your days with, what would they be?

AT: Young Mods Forgotten Story by The Impressions / Mishima: A Life in Four Chapters

JP: And lastly, to end lightly, what is the single most heavily underrated, or unknown film, to you?

AT: Super tough! Something like The Man Who Stole The Sun? I guess it’s not really unknown considering it’s a major Toho film, but it should be much much more widely seen internationally considering the fact it’s got such a cast, story and cult status (director only ever made 1 other film) behind it. 

Thank you Adam!!!