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I am almost forgot about the Trailer Weekly – I kind of got distracted looking at bento boxes. I mean, did you know that they sell things like nori punches? Nori punches! I can see how making bentos could get totally addictive, because I WANT A NORI PUNCH for onigiri with silly grins!

🙄  On to trailers, which are a totally random bunch today (in just about every way). But then again, I was never very systematic with them, was I?

  • Arrugas (Wrinkles, Spain, 2012) – This animated film, an adaptation from a graphic novel by Paco Roca, is on the programme for the Leeds International Film Festival (full post to follow within the next few days), who describe it as a “wonderfully comic, irreverent and moving animated tale of friendship, resistance and survival in a retirement home” in which the elderly Emilio finds himself when his memory (and other things) start failing him. It’s not where he wants to go as he thinks he’s just fine, but his new roommate Miguel “daily transforms their stark landscape into one of magic surrealism” as Emilio “is introduced to a fantastical cast of fellow life-travellers on one last great journey.” I would expect to shed a few tears with this one!
  • Le Jour des Corneilles (The Day of the Crows, France/Canada, 2012) – I stumbled across this one thanks to the Bonus Bits (I was browsing the programme of Montreal’s Festival Du Nouveau Cinema). Based on a novel by Jean Francois Beauchemin, Jean Christopher Dessaint directs this tale of a boy growing up in isolation. The official synopsis: “In a cabin in the deep of the forest, a child and his father lead a wild and hard life in utmost isolation. The child grows up fearing and admiring his father, with the ghosts haunting the forest as his only companions. Until the day he discovers a neighboring village and meets a young girl there, Manon. At her side, he discovers that love exists. From then on he won’t cease to search for the place where his father’s love for him is hiding.” The screenshots look wonderfully pretty and the trailer, despite the serious/darker bits, gives me a real feeling of joy from the nameless boy’s smile. There are at least two posters, but I love the forest one that I used in the gallery.
  • 東京オアシス」 (Tokyo Oashisu/Tokyo Oasis, Japan, 2011) – This is probably more of a quiet, reflective movie. It focuses on Touko, an actress, that leaves her latest project and meets – in massively populated Tokyo, where interactions between people have faded away and individuals have become increasingly isolated and alienated – Nagano, Kikuchi and Yasuko in a soul-searching journey of self-discovery. The film is from the producers of 「かもめ食堂」  (Kamome Shokudō/Kamome Diner, Japan, 2006), which I featured quite a while back.
  • The Quiet One (Sweden, 2011) – Documentary. Maryam is six. She has just arrived in Sweden from Iran with her mother, where she now goes to a special school in Stockholm. Snow, fish balls, gingerbread men – it’s all new for her. She also speaks no Swedish at all. But how to make friends, if you don’t have words to communicate with? The trailer – a short clip from probably one of Maryam’s earliest days at the school – is already heartbreaking. It’s kids being kids, but you have to wonder what the little girl is thinking as she is unable to respond.
  • 은실이 (Eun-sil-i/The Dearest, South Korea, 2011) – What can I say? Somehow there are a lot of animated films in this Trailer Weekly. This one looks quite simply drawn, but I am interested in the story and the issues it deals with: In-hye and Sun-mi return to their quiet countryside hometown after many years. Eun-sil, their classmate from long ago, has died giving birth, but there is a mystery: the father of the child is unknown. Strangely, no one in the town cares for the baby and it is left abandoned at the hospital. When the two visitors, together with another old classmate, Ji-young, try to uncover the father’s identity, they come upon a terrible truth: that the men of town used the mentally-challenged Eun-sil for sex. Dark, dark, dark.
  • 牯嶺街少年殺人事 (Gǔ lǐng jiē shàonián shārén shì/A Brighter Summer Day, Taiwan, 1991) – No trailer, only a short video clip. Directed by Edward Yang. Four hours long, it’s not your everyday-kind of film. Although Yang’s Yi yi  (Yi yi: A One and a Two, Taiwan/Japan, 2000, see Trailer Weekly #15) won him the Best Director award at Cannes, some consider this film to be his real masterpiece. Despite its length, it had plenty of critical acclaim for its story, set against the 1960s political background of Taiwan, of a 14-year old youth that kills his girlfriend. The film was restored in 2009. Note Wong Kar-Wai’s praise that came with the restored version.

And One Bonus Bit:

  • This one is for the Canadian readers:「おおかみこどもの雨と雪」 (Ōkami Kodomo no Ame to Yuki/Wolf Children/Les Enfants LoupsJapan, 2012) will be showing at Montreal’s Festival Du Nouveau Cinema on Oct 14 (English subtitles) and Oct 21 (French subtitles). I will be seeing it next Thursday (Oct 11) with Genkina Hito at the London Film Festival. It’s on the top of my list of films-to-review-the-second-I-see-them, but I’m not sure I can manage in time for the English Montreal screening. (Genkina Hito might be faster.) Then again, if you want to see this film, I would not wait for any review but book right away – it could sell out quickly!

UPDATE: One More Bonus Bit

  • Koreaffinity/Japanaffinity is yelling at me on Twitter, because I didn’t list other showings of Ōkami Kodomo no Ame to Yuki in the world. Well, I have been tracking the journey of Hosoda’s film across the globe since its world premiere in Paris, but he did remind me of one screening I forgot to mention: it’s also on the programme in Leeds! So if you are neither in London nor in Edinburgh, but somewhere halfway in between, you can see it there either on Nov 11 or 17, 2012.

And another one: