<div dir="ltr"><div dir="ltr">Thank you very much for the report John, I was at the screening in Nagoya, Adachi, Inoue and others were there after the screenings and they said that all the screenings around Japan were sold out. <div dir="auto"><br></div><div dir="auto">I also found the part when Kawakami talk with the daughter of a revolutionary activist very significant. The music by Ōtomo Yoshihide was also fitting. </div><div dir="auto"><br></div><div dir="auto">The screening itself was an event of resistance in my opinion, I could feel the energy filling the small theater.</div><div dir="auto"><br></div><div dir="auto">Regards</div><div dir="auto"><br></div><div>Matteo</div></div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">Il giorno mer 28 set 2022 alle ore 15:36 John Junkerman via KineJapan <<a href="mailto:kinejapan@mailman.yale.edu">kinejapan@mailman.yale.edu</a>> ha scritto:<br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div dir="ltr"><p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">I managed
to get a ticket to the Loft 9 screening, timed to coincide with Abe’s state
funeral. The screening started with a remote feed of Adachi Masao, outside
Budokan, confined within the police lines that kept protesters away from the
venue.</span></p>
<p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">The film
was remarkable. It uses rain heavily, which is apparently an Adachi trademark.
When asked why, he said, “If I knew, I wouldn’t make films.” But it was clearly
a metaphor for the reality that fell upon Kawakami (the renamed killer of Abe,
Yamagami) over the years. It is raining in the scene where he kills Abe, at
odds with the news footage of the same scene. An early scene shows him in his
cell, flooded to his knees. That’s when he begins telling his story.</span></p>
<p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">Everyone
here is of course familiar with that story: his father’s suicide, his mother’s
entrapment in the Unification Church, the family’s impoverishment and
bankruptcy, his brother’s suicide. But the depiction of the steady accumulation
of humiliation and despair is compelling and empathetic. There is an amazing
scene toward the end where the actor, Tamoto Soran, does a frenetic, feverish
dance, as if trying to shake off the demons and scales of psychic pain. </span></p>
<p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">The film
raises lots of questions, and the post-screening discussion delved into issues
of perpetrator/victim, the violence of state power, the consequences of loss of
family and social support networks, precarity, etc. There was also a good deal
of discussion of the Wakamatsu school of filmmaking: the initial script
apparently ended with a bomb explosion at the state funeral, which screenwriter
Inoue Junichi commented, would might be how Wakamatsu would have ended the
film. Instead, Adachi has Kawakami’s sister address the camera to say she
respects her brother for doing what he believed he had to do, but that she will
follow an alternative path. Adachi said he saw the film as a story about the
breakdown of love and connection and that choosing that ending showed that he
had matured. To which Inoue quipped, “It took you 83 years to grow up!” (He included
what amounts to a scene of self-criticism, where the daughter of revolutionary
activists commiserates with Kawakami, two “nisei” whose lives and families were
sacrificed to their parents’ convictions.) </span></p>
<p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">The
50-minute rough cut will be finetuned and supplemented into an 80-minute film
by the end the year or so. Now that the state funeral (fiasco) is behind us,
the film will continue to probe the Unification Church and the other symptoms
of social breakdown that remain. Personally, I hope they rethink the.
“Revolution+1” title, which doesn’t really capture the spirit of the film, but
perhaps they’re already too deep into promotion, with all the attention the
film has gotten.</span></p><p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">(I tried posting some photos but it put me over the size limit, so I'll just post the text.)</span></p><p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US"><br></span></p><p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">John Junkerman</span></p></div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Wed, Sep 28, 2022 at 2:11 PM John Junkerman <<a href="mailto:jtj53213@gmail.com" target="_blank">jtj53213@gmail.com</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div dir="ltr"><div dir="ltr"><p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">I managed
to get a ticket to the Loft 9 screening, timed to coincide with Abe’s state
funeral. The screening started with a remote feed of Adachi Masao, outside
Budokan, confined within the police lines that kept protesters away from the
venue.</span></p>
<p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">The film
was remarkable. It uses rain heavily, which is apparently an Adachi trademark.
When asked why, he said, “If I knew, I wouldn’t make films.” But it was clearly
a metaphor for the reality that fell upon Kawakami (the renamed killer of Abe,
Yamagami) over the years. It is raining in the scene where he kills Abe, at
odds with the news footage of the same scene. An early scene shows him in his
cell, flooded to his knees. That’s when he begins telling his story.</span></p>
<p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">Everyone
here is of course familiar with that story: his father’s suicide, his mother’s
entrapment in the Unification Church, the family’s impoverishment and
bankruptcy, his brother’s suicide. But the depiction of the steady accumulation
of humiliation and despair is compelling and empathetic. There is an amazing
scene toward the end where the actor, Tamoto Soran, does a frenetic, feverish
dance, as if trying to shake off the demons and scales of psychic pain. </span></p>
<p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">The film
raises lots of questions, and the post-screening discussion delved into issues
of perpetrator/victim, the violence of state power, the consequences of loss of
family and social support networks, precarity, etc. There was also a good deal
of discussion of the Wakamatsu school of filmmaking: the initial script apparently
ended with a bomb explosion at the state funeral, which screenwriter Inoue Junichi
commented, would might be how Wakamatsu would have ended the film. Instead,
Adachi has Kawakami’s sister address the camera to say she respects her brother
for doing what he believed he had to do, but that she will follow an
alternative path. Adachi said he saw the film as a story about the breakdown of
love and connection and that choosing that ending showed that he had matured.
To which Inoue quipped, “It took you 83 years to grow up!” (He included what
amounts to a scene of self-criticism, where the daughter of revolutionary activists
commiserates with Kawakami, two “nisei” whose lives and families were
sacrificed to their parents’ convictions.) </span></p>
<p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">The 50-minute
rough cut will be finetuned and supplemented into an 80-minute film by the end
the year or so. Now that the state funeral (fiasco) is behind us, the film will
continue to probe the Unification Church and the other symptoms of social
breakdown that remain. Personally, I hope they rethink the. “Revolution+1”
title, which doesn’t really capture the spirit of the film, but perhaps they’re
already too deep into promotion, with all the attention the film has gotten.</span></p><p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">I'll attach a couple of photos: Adachi with Tamoto and other cast members; and the panel, with Inoue on the left.</span></p><p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US"><br></span></p><p class="MsoNormal" style="margin:0cm;font-size:12pt;font-family:Calibri,sans-serif"><span lang="EN-US">John Junkerman</span></p></div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Tue, Sep 27, 2022 at 11:36 AM Markus Nornes via KineJapan <<a href="mailto:kinejapan@mailman.yale.edu" target="_blank">kinejapan@mailman.yale.edu</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">Last night was the premiere of Adachi’s new film Revolution +1. <div dir="auto"><br></div><div dir="auto">The venue was Loft+1 in Shinjuku. Afterwards, he sat on a panel with musician Darth Raider, Miyadai Shinji, and screenwriter Inoue. They broadcast it live via Vimeo. Now I see that the recorded it and left it up:</div><div dir="auto"><br></div><div dir="auto"><div><a href="https://player.vimeo.com/video/753485644?h=09313605ac" target="_blank">https://player.vimeo.com/video/753485644?h=09313605ac</a></div><br></div><div dir="auto">I look forward to hearing how the film itself is. Everyone at the screening seemed excited.</div><div dir="auto"><br></div><div dir="auto">Markus </div>-- <br><div dir="ltr"><div dir="ltr"><div><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><span style="color:rgb(136,136,136)">--- </span></div><div dir="ltr"><div dir="ltr"><div dir="ltr"><div style="font-size:small"><font face="courier new, monospace" color="#274e13"><b><img width="55" height="96" src="https://ci3.googleusercontent.com/mail-sig/AIorK4wpadRRhHYSz0N5UbUflm2YEIclCcg0bTCCBEh81fkJ8isCMwomHpMoky49pEF7xzc4MTMR-PM"><br></b></font></div><div style="font-size:small"><font face="courier new, monospace" color="#274e13"><b>Markus Nornes</b></font></div><div style="font-size:small"><span style="font-family:"courier new",monospace"><font color="#38761d"><b>Professor of Asian Cinema</b></font></span></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><blockquote style="margin:0px 0px 0px 40px;border:none;padding:0px"><blockquote style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><font size="1" color="#38761d"><font face="courier new, monospace">Department of Film, Television and Media</font><span style="font-family:"courier new",monospace">, Department of Asian Languages and Cultures, Penny Stamps </span><span style="font-family:"courier new",monospace">School of Art & Design</span></font></blockquote></blockquote><blockquote style="margin:0px 0px 0px 40px;border:none;padding:0px"><blockquote style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"> </blockquote></blockquote><blockquote style="margin:0px 0px 0px 40px;border:none;padding:0px"><blockquote style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><font face="arial, sans-serif"><b><u><span style="background-color:rgb(182,215,168)">Homepage: <a href="http://www-personal.umich.edu/~nornes/" target="_blank"><font color="#ffffff">http://www-personal.umich.edu/~nornes/</font></a></span><font color="#6aa84f"><br></font></u></b></font><font face="courier new, monospace" size="1" color="#93c47d"><b>Department of Film, Television and Media<br></b></font><font face="courier new, monospace" size="1" color="#93c47d"><b>6348 North Quad<br></b></font><font face="courier new, monospace" size="1" color="#93c47d"><b>105 S. State Street<br></b></font><font face="courier new, monospace" size="1" color="#93c47d"><b>Ann Arbor, MI 48109-1285</b></font></blockquote></blockquote><div><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div style="color:rgb(136,136,136)"><br></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>
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</blockquote></div><br clear="all"><div><br></div>-- <br><div dir="ltr"><div dir="ltr">John Junkerman<div><a href="mailto:jtj53213@gmail.com" target="_blank">jtj53213@gmail.com</a></div><div>2-18-6 Ehara-cho, Nakano</div><div>Tokyo 165-0023</div></div></div>
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