Orange anime series and my Japanese inclination for such stories

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Orange has been on my list since late last year while I was occupied with Shigatsu wa Kimi no Uso (Your Lie in April). I’ve been listening to its soundtrack from early this year without having even started the anime series and now it’s on repeat again as I’m finally watching it.

Stories such as (depression and suicide) Orange tend to have gravitational pull towards me. It’s been a strong predilection for me but my very first venture and exposure to such themes was when I read Norwegian Wood by Haruki Murakami back in college (Thanks to a college classmate’s recommendation). In this, three people committed suicide — Kizuki, who killed himself when he was 17, Reiko, and then eventually Naoko who had been struggling with the loss of Kizuki.

Then in Colorless Tsukuru Tazaki, which is now my favorite Murakami novel, there’s also suicide and depression with the character of Shiro.

With anime both series and films, such examples among my favorites are 5 Centimeters per Second’s Takaki, Ao Haru Ride’s Kou, Shigatsu wa Kimi no Uso’s Kousei, Koe no Katachi’s Shoya and Shouko, and then this anime series — Orange with Kakeru, which is set to become among my favorite anime series.

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Apart from the same themes, these are all Japanese. Even Kizuki’s suicide and Kakeru’s suicide in the alternative timeline are similar — both are 17.

Depression and suicide are highly complex because both are psychological and even more difficult to explain than any kind of medical illness.

I’m starting to wonder why I have so much attachment to characters and stories with the said elements. On my take, it’s something I deeply contemplate about. A close friend said, it’s because it’s something I can understand but perhaps it’s more than that.

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Manga Hokusai Manga at the Ateneo Art Gallery

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Manga Hokusai Manga: Approaching the Master’s Compendium from the Perspective of Contemporary Comics 

The exhibit runs until July 28 at the Ateneo Art Gallery.

An international traveling exhibition organized by the Japan Foundation is an exploration of the similarities and differences between Katsushika Hokusai’s manga and modern Japanese manga, with works from seven contemporary manga artists from the basis and influence of Hokusai’s manga.

Before I checked out the exhibit, I attended “Manga and the ‘Manga-esque’:
Shifting Definitions and Perspectives,” a lecture by Dr. Karl Ian Uy Cheng Chua, director of the Ateneo de Manila University – Japanese Studies Program. 

The talk centers on how “manga” and the perceptions of “manga” have changed, and how “manga” is consumed and produced in the Philippine context. The talk hopes to present the expansive reach and influence of manga, as well the problems it can encounter overseas.

Dr. Chua started by asking ‘what is manga?’ My answer to that — it’s a drawing with a story, it has Japanese characters, has Japanese context, it has panels and dialogue balloons, that it is read from right to left, and that it’s a source material for anime and film adaptations. I didn’t say it though, it was just in my head while talking to myself. 


To me, I think of manga as very Japanese because it’s highly culturally-rooted. It’s no longer manga to me when there’s no element of being Japanese in it — not the creator, not the story, nothing; even though the style is like a manga, I would only call it copying a manga but not a manga.

I was in a dilemma when Dr. Chua showed on the presentation some examples and I found myself at loss and confusion if it’s manga or not.

I realized that defining manga is complex as there’s no standard definition as compared to Hokusai’s manga. The definition and perceptions as to whether one is to be called a manga is now not only based on the cultural appropriateness of the content — the style, story, and characters. It’s expansive and ever-changing depending on one’s basis and analysis on why one would categorize it as manga whether it’s made by a Japanese mangaka or not. 

Everything Japanese

 

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The last day of Eiga Sai Ph at the Shang Cineplex was on July 16, Sunday. And like how the film festival always starts during the first week of July, it also always concludes before or after my birthday — so the dates always include my birthday. However, this year it actually concluded on my birthday.

It kinda reminds me of how Harry Potter either premieres a new movie before or after my birthday or during November. It’s only either July or November.

I decided to skip Saturday, July 15 screening of “Anthem of the Heart” and ended up losing P100 because I already have a ticket but then again, if I went I would have lost more money than just P100 because I would have to spend more.

So I opted to watch something on the last day instead. Initially, I was looking at watching Naomi Kawase’s “Sweet Bean” despite having doubts about it for having read negative reviews when it premiered at the 2015 Cannes Film Festival.

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Then again, I couldn’t watch it because I was again late and so I ended up watching the documentary “Tsukiji Wonderland.” The docu is part of my shortlist but not really a high priority but I must say, it’s a better choice to have watched the docu instead.

I may have missed seeing inside the Tsukiji Fish Market last year, I only saw it from the outside on my late night walk; seeing the documentary makes me feel like I had ventured into every corner of the fish market in reality. And because I love fish, it was a sight how the Japanese put so much high regard with the fresh seafood culture and how they both have fun and in-depth knowledge about what they do and take pride in it.

 

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A lime torte cake that I was able to buy on a last-minute decision from Starbucks because it’s the only one that’s open when I went out of Shang. 
I haven’t had a cake since Ryuchan’s birthday last May 9th. I say it like I was actually there on his birthday. Delusional me.

Eiga Sai Ph 2017: 20 Years of Japanese Cinema.

 

Despite failing to get a ticket last Saturday for the last Shang Cineplex screening of opening film, “Her Love Boils Bathwater,” I still have a chance to see it sans the director’s talk and not on the big screen but probably via projector since it will be playing on August 19 at the UP Film Institute for free.

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Atsuko Maeda is one lucky girl — she got to work with both of the Matsuda brothers — Ryuhei and Shota but she co-starred with Shota first in “Initiation Love” (2015). 
Even Akira Emoto, who plays Ryuhei’s dad in this film has co-starred with both brothers, first with Shota in “Ikigami: The Ultimate Limit” (2008). I love Ryuchan’s mom here, Masako Motai. She is simply adorable, she’s a darling. There’s something with her smile and her face that gives me the warm feeling inside. 
Yudai Chiba, as Koji, the younger brother is cute and funny but his hair is terrible. I know him from “Ao Haru Ride” as Toma Kikuchi.

On the other hand, I was successful this past Wednesday at catching my other priority film — “The Mohican Comes Home,” a dramedy about an ailing father and his long-absentee struggling punk musician son and their unusual family. Starring Ryuhei Matsuda, Atsuko Maeda, Yudai Chiba, Akira Emoto, and Masako Motai.

One of the greatest pleasures of my fangirl life is being able to watch a high-bias actor on the big screen. That extreme euphoria of seeing Ryuhei again on the big screen, like he’s larger than life and that I have a maximum of 2 hours to ogle at him. I first saw him on the big screen at the 2015 Eiga Sai in “Tada’s Do-It-All House: Disconcerto.”

The Mohican Comes Home easily becomes one of my favorite Japanese movies now, and of course one of my favorite Ryuhei movies.There’s so much about this film that I can relate to, except the idea of being a punk rocker and the pregnant girlfriend.

Some of the subtle real-life moments of the film that I find really touching and relatable:

  • When Eikichi (Ryuhei Matsuda) takes over the conducting duties from his Dad Osamu (Akira Emoto) for the practice of the local school’s brass band of middle school students, in which Eikichi changes the tune that they usually play by taking the cue from the student drummer — he finds himself enjoying with the school band and ends up laughing altogether resulting to his Dad’s annoyance as he hears them over the phone;
  • When Eikichi asks his Dad to write his last wishes so that he can see if he can do something about them;
  • When Eikichi dresses up as Eikichi Yazawa, his Dad’s idol and Hiroshima’s Elvis because his Dad wrote he wants Yazawa to visit him;
  • When Eikichi simply walks behind his Dad not knowing where his Dad is going until they reach the graveyard;
  • When Eikichi tries his best to find that same pizza his Dad ate on his 60th birthday by ordering all kinds of pizza from (3) pizza chains and asking them to have it delivered to their place in Tobi Island, Hiroshima;
  • And the beach scene — that quiet conversation between Eikichi and his Dad and when he finds himself crying while trying to stop it in the middle of eating ‘onigiri.’

And this is why Eiga Sai is such a blessing because Japanese films are harder to find and if I do find them, there are no available English subs online. Even DVDs with subs are hard to come by.

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Since I’m still sad about missing last year’s Eiga Sai and my favorite “The Great Passage” (due to an overseas personal trip), I hope next year, I’d get to see another Ryuhei film, perhaps “My Uncle” which also premiered in Japan last November and crossing my fingers, “Before We Vanish” that had its international premiere at the Un Certain Regard section of the 2017 Cannes Film Festival and will premiere in Japan this September 9th.

It would also be nice if they’d (The Japan Foundation, Manila) get to include more old films and maybe stage a Studio Ghibli film festival because other countries are bringing back Ghibli films to the big screen like a film festival or at least include some Ghibli films next year.

Among the films, I’ve seen “Departures” before already and saw “In This Corner of the World” at a regular screening last week. I’m still looking to watch Sweet Bean on Sunday, closing day of Eiga Sai at Shang Cineplex and If Cats Disappeared From The World on August 17 – UP Film Institute.

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This year, there are 20 films to celebrate the 20 years of Japanese cinema in the Philippines, and will also make the rounds this August until the 29th at the UP Film Institute, CCP, Cebu, Davao, Baguio, Bacolod, and Iloilo.

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The line-up this year includes (3) 20th anniversary features:

*Departures / Memories of You / Sting of Death

Besides Her Love Boils Bathwater and The Mohican Comes Home, other award-winning and critically-acclaimed contemporary films include:

*In This Corner of the World (In connection Manga Hokusai Manga Exhibit)

*Sweet Bean

*The Long Excuse

*The Magnificent Nine

*Creepy

*Chihayafuru Part I/II

*What A Wonderful Family

*If Cats Disappeared From The World

*Bakuman

*The Anthem of the Heart

*Tsukiji Wonderland

*Asian Three-fold Mirror 2016: Reflections

*Poolsideman

*Sadako vs Kayako

For screening schedules, check Eiga Sai Ph official Facebook.