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. 

‘A Second Chance’ : Love’s Lost Identities

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I wasn’t intending to read a review about A Second Chance this morning (Nov.29) but I read it anyway, though I’m not particularly influenced by reviews, from ClickTheCity by Philbert Dy. One important thing he mentioned was about the ending. And when Anna and I saw the movie today, I finally understood what he meant.

Like the review, I’d give it 4*/5 because I was a little disappointed with the ending. I feel like the writers rushed it too much, that they had to force them to make amends with each other. If it were told the other way, it would have been a lot better.

If I were the writer, which I’m not, but I wanted Popoy to leave for London so he could reclaim himself, the talented engineer and the self-respect he lost from all the circumstances, and because it is also what Basha needs.

I wanted to see Popoy doing well in London and Basha happy managing the firm, that despite being away, they remain to be married and are gradually patching things up the long-distance way. They just need some time and distance apart to regain the identities they’ve lost and to come back to who they really were as individuals.

I can honestly say that I like this one better than the first because this time it isn’t only about petty quarrels, wanting for space, being controlled, breaking-up, getting back together. They’re dealing with matters of more weight this time, of matters they promised at the altar to face together.

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I honestly think Popoy and Basha rushed into things. For me, they didn’t really have to get married right away after getting back together. They could have continued on with their own separate careers as an engineer and an architect.

In the last scene from One More Chance, he did say he won’t be going away anymore but really that could change. It’s an honest to goodness opportunity that will benefit the two of them in the long run. He should have taken the London offer. And there’s also the idea of putting up their own firm, it was too soon. I felt like they didn’t think about it properly, like they just felt the need to put up their own because now they are married. Because let’s face it, when you work with your wife or husband, you’re definitely bound to get into big arguments combining that of personal matters. It’s a one big mess. At the end of all this, it was all because they love each other.

I also felt bad for Popoy. I get that part of the fault is his because he allowed matters escalate to its worst. But if there’s anyone who’s most disappointed, it’s him. He wanted to rush things, in two years, he would have already built the dream home that he promised to Basha, so he ended up taking too many projects. It was beyond him, and it wasn’t all his fault as well. He lied to her because he didn’t want to hurt her, but of course she’ll eventually find out and that will hurt her more.

Basha decided to stay with him and took matters in her hands, but everytime, she shoves it in his face without saying anything that she’s right, that she’s the one taking charge of everything now, that he should have listened to her all along. It’s like everyday, she’s making less of Popoy, of what’s little that’s remained of Popoy’s respect for himself from the events that happened.

But I’m also not dismissing the challenges Basha had to face, like the loss of their supposed first baby, how they’re trying to get pregnant again but it just won’t work, and how she keeps wondering why Popoy’s always in a hostile mood but she keeps trying to reach out to him.

I also find the calamity proof structure interesting. If one really thinks about it, Popoy has a good point of trying to get the idea out, pitching it to clients, and that one day someone is going to understand and believe in the idea. Because if he never tried to put it out, then it’ll feel like he’s already lost when he hasn’t started anything about it. Although I have to admit that the idea may be a little too advanced for some, or that Popoy is thinking too much beyond since it all depends on what they need or want.

They both had difficulties of their own despite being married, and because they’re shielding each other from the possible pain and anger, that very love that they’re holding onto is also what’s driving them apart. And as they grow more into strangers, they’re slowly losing how to trust each other and losing the identities of the people they originally married.

 

Film Festival Circuit III: The Tale of the Princess Kaguya in Cinemalaya Film Fest

When I heard about “The Tale of the Princess Kaguya” being screened for this year’s Cinemalaya Film Festival under the Independents: Asian Showcase section, I told myself I had to take the opportunity cause it’ll never have a regular screening in cinemas here so this is the only chance I got. I managed to tagged along my college friend Anna to watch it with me on August 9, one of the only two screenings for the Isao Takahata gem at the CCP Main Theater.

At first though, I was a little put off by the animation style of the film. It reminded me of the style of another Isao Takahata film, “My Neighbors The Yamadas,” although I haven’t really seen this one fully, partly because I wasn’t so interested. But fortunately, I went ahead to watching Princess Kaguya and I was definitely proven wrong on my apprehension regarding the animation. The film is Isao Takahata’s final film. The director is best known for “Grave of the Fireflies,” which I have seen and really brought me utter sadness and tears. I still find it hard to watch it again.

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The film is based on a 10th century folktale called “The Tale of the Bamboo Cutter” and is considered the very first Japanese prose narrative from the Tokugawa period. It centers around the bamboo cutter Okina (Takeo Chii) and his discovery of a little child inside a bamboo shoot. He brings her home to his wife Ona (Nobuko Miyamoto), but when she carries the child she suddenly grows into a normal looking baby.

The couple decided to raise the child and naming her Kaguya (Aki Asakura), which means “radiant night” in Japanese. There was a shining light coming out of the bamboo shoot to where Okina found her, thus the name that means radiant night. The little Kaguya becomes friends with the local children and they also noticed how she strangely grows too fast like a bamboo, so they started calling her “takenoko” or little bamboo and developing a special friendship with Sutemaru (Kengo Kora).

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But the mysteries didn’t end with her discovery, Okina found gold coins and elegant silk robes inside the very same bamboo, and he was convinced that Kaguya is a gift from heaven and is destined for nobility. With this Kaguya’s life is changed entirely, from the suburbs to the city to learn the ways and principles of a noble lady fit for the high society.

The news of her elegant beauty has quickly spread, eliciting attentions from noblemen to the emperor. But on the day she was solemnized as Kaguya-hime (Princess Kaguya), she realized how most people only cared about her physical looks and that she’s only being named a princess due to her father’s wealth.

Despite her bold disobedience at times to her father and mentor Lady Sagami (Atsuko Takahata), she still yearns to please her father in the best of her abilities but upon hearing how people deride even her father makes her start to realize that all the things about her nobility is unworthy.

One of my favorite scenes in the film. Just look at that. 

One of the strong themes tackled in the film is how women of nobility are stripped of their free will, thrown into situations other people have decided for them without consideration to their opinions and feelings. Another is how women are merely treated as possessions and status symbols and how they are lured by men with money, flamboyant words and promises.

And yes not to forget the animation itself that initially turned me off. I have to say it really is majestic. The hand-drawn or brush-stroke style makes every scene feel and look like its being sketch as it happens on screen. The whole film is a masterpiece painting that comes alive before the audience. It can also  be likened to traditional Japanese painting such as The Great Wave off Kanagawa.

And of course, a Ghibli film is not complete without its accompaniment of musical score from perennial genius and Ghibli collaborator Joe Hisaishi that complements each and every moment of the film, from the joyful discovery of Kaguya, her early experiences as a human, to saying goodbyes, to good memories of friendship, and new beginnings and challenges as a princess.

Infinitely beautiful, truly one of the very best animated films ever made.

Film Festival Circuit II: Eiga Sai 2015 and the introduction to Ryuhei Matsuda

Watching Eiga Sai has been an addictive habit and if I could turn back, I would have wanted to have attended the very first edition of Eiga Sai. But I think when it started I was still in college, so it would have been a little difficult to spend almost the whole day to queue just to ensure a seat. Nevertheless, I’m still happy that it’s my third year attending it and I have my former then current work to thank for it because it opened more doors for me to discover my Japanese addiction.

The recent Eiga Sai was also attended by director Yuya Ishii and producer Takuro Nagai of the opening feature “Our Family” (2014) starring Satoshi Tsumabuki, Sosuke Ikematsu, Kyozo Nagatsuka and Mieko Harada about a family in the midst of breaking apart but a sudden news of their mother being diagnosed with cancer brings them back together.

It is based on Kazumasa Hayami’s same-titled novel and Ishii’s follow-up project to the commercial and critical success “The Great Passage” (2013) starring Ryuhei Matsuda. Ishii shared that he made the film because he understands some issues and situations the Wakana family is going through and can be likened to his own family.

This year’s line-up also includes contemporary films “Parasyte,” “Wood Job,” “Thermae Romae II” and “Princess Jellyfish.” And under the savory Japan category are “It’s A Beautiful Life – Irodori,” “A Tale of Samurai Cooking – A True Love Story,” “Patisserie Coin de Rue,” and two documentaries “The God of Ramen” and “Wa-shoku – Beyond Sushi.”

The Road to Ryuhei Matsuda

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It seriously makes me happy everytime I get to see one of my favorite actors at the big screen, even more so when it’s free, which is why I always make an effort to watch their film when it’s included in either the Eiga Sai or Korean Film Festival.

Just like 2013’s Eiga Sai where I first watched Kenichi Matsuyama at the big screen, who of course happens to be one of my favorite actors, this time, I was able to watch an actor who’s also very talented and popular for the first time who just became one of my favorites after seeing him in “Mahoro Ekimae Kyousoukyoko” (Tada’s Do-It-All House: Disconcerto).

The Great Passage opens the door 

Co-starring Aoi Miyazaki, Joe Odagiri

Unlike Kenichi Matsuyama, who I started following since I watched the first Death Note film back in 2006 or 2007, I have only seen or heard about Ryuhei Matsuda on Screen Red some weeks before the Eiga Sai started in Edsa Shangri-La Mall. I happened to chance upon his award-winning film “Fune Wo Amu” (The Great Passage) and Japan’s representative at the 2014 Academy Awards best foreign language film. But I wasn’t able to start the film so I ended up not watching it the first time. I saw it again few days after on TV, but again it already started.

And when the line-up for this year’s Eiga Sai came out, I saw his name in one of the films, and just like I always do I read each and every film’s synopsis and check out their trailers to make a shortlist. Fortunately, I ended up having the film on my shortlist because I like the trailer and the plot. So that’s the story of how Ryuhei Matsuda became one of my most favorite actors, next to Kang Dong-won who’s always been my top bias for the longest time, which means he already has pushed down some of my other favorite actors on the list who I have known longer than him. That’s how strong his effect on me.

Shota Matsuda in Hana Yori Dango 

Shota is the one in blue coat, first from right

But there is something else that totally sent me off the roof. That’s when I found out Shota Matsuda is his little brother. I’ve known Shota since the first Hana Yori Dango in 2005 but I think I saw the drama a year later, as I was motivated to watch the Japanese version of Meteor Garden that I so love. It just so happens that my favorite character is Hua Ze Lei in the Taiwanese version, who is Rui Hanazawa in the Japanese one that was portrayed by Shun Oguri. But in all honesty, I think Shota is the best looking among the four and and he’s perfect for Soujiro Nishikado’s playboy demeanor. Well that’s when until recently, I came to know about his beloved onii-chan.

I did kinda notice the similar surname but I didn’t pay much attention, and initially thought they just have the same surname but no relation. Finding out the real connection between them was a huge surprise, not that they don’t resemble each other, they do when you look closely, but more on the idea that they’re both very handsome and the fact that they’re even brothers – they share the same parents, same blood, growing up together makes it something close to a miracle. It’s not everyday, even in celebrity siblings that you get two brothers or two sisters who are both equally handsome and very talented. It was like my mind wasn’t very ready to take the awesome fact, totally blew my mind.

But then things took a different turn and I came to adore Ryuhei more than Shota. The very first thing I noticed about him is his tender cat eyes, they just look so mysterious and somewhat sad. His eyes speak volumes of things and stories in the most mysterious ways. And I love it when he smiles because I get to see his dimples and his silly laugh in the Mahoro series all got me. I find his features different from Shota despite having a resemblance to each other, because Shota is more of the conventional kind of a good looking guy and Ryuhei is not, which is why my vote goes to Ryuhei.

Mahoro Films and Series 

Mahoro Ekimae Tada Benriken, the first film

I started with Ryuhei at the recent Eiga Sai through the second film titled Tada’s Do-It-All House: Disconcerto and third installment of the Mahoro series, one of the most popular and most successful series of film and TV adaptations from the the Naoki Prize-winning series of novels by Shion Miura.

Mahoro Ekimae Bangaichi – the series

In this second film, Gyoten (Ryuhei) has been staying with Tada (Eita) in running his benri-ya (handyman business) in Mahoro, a fictional laidback place in Japan for two or three years since the events from the first film (2011) and the series (2013). They accept almost all kinds of odd jobs, from cleaning, organizing, walking pets, driving and more. And most of the time, the two get involved with their clients more than they should. Tada and Gyoten are both divorcees, with past stories they want to forget and run away from.

Mahoro Ekimae Kyousoukyoko – the second film

This time, the two buddies are tasked by the local gang leader Hoshi (Kengo Kora) to investigate a mysterious cult group that produces and sells organic vegetables. Things get more messy when Nagiko, Gyoten’s former wife with whom he has a young daughter named Haruka is placed in the care of Tada while she’s away overseas. Tada is scared of what Gyoten might do, especially since he knows Gyoten doesn’t like kids and even more so when he finds out the little girl is his daughter.

Scenes from the series

What I love about the duo of Ryuhei and Eita is that they really complement each other, this one of a kind chemistry I haven’t seen in male actors before. And because of their amazing combination, I feel as an audience that Tada and Gyoten would be at lost without the other.

At the time Gyoten met Tada again in years at the bus station from the first film, it was the right moment for the both of them. Tada, then still couldn’t moved on from the passing of his son that led to his divorce, while Gyoten was on his way to kill his parents because they keep asking Nagiko to see Haruka. I know these all now because I’ve already finished the first film and the series after seeing the second film of course.

It’s also a unique story of two former classmates who find themselves face to face with each other again and becoming best buddies in the process, helping each other out when one needs the other. I have never seen such a story in any of the dramas I’ve seen before.

It’s also very unpredictable and highly enjoyable, I could never guess what adventure would the two be involved with in the next episode. Well-acted, mainly from Ryuhei and Eita who carry the direction of the film and series, picturesque cinematography and fun-loaded, naturally funny story and episodes.

And because of everything, Gyoten Haruhiko has become one of my most favorite fictional characters ever.

I’m also very delighted to know that The Great Passage, in which he won a number of best actor awards will be out in English edition next fall by Amazon Crossing as I was told by a caring staff from Kobunsha, its original publisher when I asked a sample English translation of the novel.

Film Festival Circuit 1: WPFF and 20th French Film Festival

I’ve been going around to many film festivals this past months of June and July – the 20th French Film Festival, the 2nd edition of World Premieres Film Festival and Eiga Sai 2015. It was my first time with WPFF and French Film Festival and my third year attending Eiga Sai. Eiga Sai has been a tradition to me, but the other two were a chance to see some other films.

A humorous story of a not so ordinary family 

I went to see La Famille Belier, the opening film at this year’s French Film Festival. With every film festival, I always go through each and every film to make a shortlist of the films I’d like to see. If the trailer is interesting for me, then that’s more than enough reason for me to see the film. I had two shortlisted films but had to just watch one because unlike Eiga Sai, it doesn’t come free.

La Famille Belier is a heart-warming and humorous story of a family whose parents and son are deaf and must cope with their non-deaf daughter Paula decision to leave for the big city. Paula is the family’s reliable interpreter and helps in running the family’s farm. Despite most of her family members being deaf, Paula and her family live normally just as everyone.

At a music class, her teacher discovers her singing talent and encourages her to join a prestigious competition. At first, Paula wasn’t so interested with the idea of singing but she eventually decided to take up after school lessons with her teacher and started enjoying it. She still continues with her normal day-to-day duties in the farm but hasn’t discussed with her family that she has been taking up singing lessons.

I enjoyed the simplicity of the plot and how her family members interact with each other and do things just like everyone does without the usual conversations, but instead, of actions and sign language.

I appreciate the patience and sincerity of Paula’s character that despite being different from the rest of her family, she doesn’t make them feel like she’s normal and they’re not. Instead, it’s her blending well with her parents and younger brother and tries to understand them in every way she can.

It’s a nice story of a family that’s just like everyone but not so ordinary. A heartwarming path to adulthood story of a teenage girl as she discovers in herself a talent that could be her lifelong dream and passion. It’s about pushing for your dreams even though it might not turn out for the best. And of parents overcoming their fears and apprehension and deciding to support their daughter in spite of so many uncertainties of what could happen to them after their interpreter daughter leaves the family temporarily and of her possible life in the big city.

A 30-something pressured to get married

In this year’s 2nd edition of WPFF, I’ve decided to watch an Indonesian film titled “Kapan Kawin?” (When Will You Get Married) under the ASEAN Skies category. The ASEAN Skies category covers films from 10 members of the Association of Southeast Asian Nations (ASEAN): Brunei, Cambodia, Laos, Malaysia, Myanmar, Thailand, Vietnam, Singapore, Indonesia and the Philippines.

What attracted me to the film was that its lighthearted comedy approach to a serious issue, which is about women and getting married before they turn 30. It tells the story of Dinda, played by Adinia Wirasti, a successful 33-year-old hotel manager in the bustling city of Jakarta. But she’s a cut above the rest because she’s still single.

Her parents have been consistently badgering her to get married every year on her birthday, and it gets more troubling for her everytime she gets compared to her older sister who’s seemingly happy in her married life with a businessman and son William. This time, Dinda makes a serious decision and hires Satrio, a street actor to pretend as her boyfriend during the upcoming anniversary of her parents.

While it may not be a very original story, especially with the hiring someone to pretend to be this and that but in other sense, it’s still a different film.

According to producer/writer Robert Ronny who was gave a brief Q&A after the screening, it is a cultural phenomenon for women in Indonesia to be married before they reach 30. Although this social pressure is not heavily felt in the “megapole” Jakarta, but more in other places in Indonesia like Yogyakarta, which is also one of the reasons they decided to shoot the film there. It is considered as an important accomplishment in life for women and for some, being unmarried beyond 25 may even be considered a sin.

Ronny added that he believes in this kind of genre, the film is able to deliver the message of understanding this social pressure in an efficient combination of well-balanced lighthearted at serious elements not only in Indonesia, as well as in other cultures. It also gives light to the topic of following the parents’ wishes even though it may not necessarily be for the best of their children, as well as the parents being more open in accepting their own mistakes and the decisions of their children.

The story’s conclusion might be a little predictable but I highly appreciate the way the story panned out. It wasn’t made in a way that’s too serious or too comedic that it ends up being sloppy. Plus, the story of Dinda is someone anyone can easily relate to, whether you’re 30, 30-something or 20-something, where it also showed the effects of modern society to decisions being made by women of today in their search for happiness in family and marriage.

In any case, most women would have had that experience of being annoyingly asked when they’ll get married or when they’ll have a boyfriend though it may not exactly be culturally-rooted like Dinda’s situation.

The chemistry between the two leads Adinia Wirasti and Reza Rahadian is also one of the driving factors of the film. Most of the humorous scenes were from Rahadian in his interactions with Wirasti and succeeds in bringing out natural laughs from the audience. And not to forget, the film’s cinematography is another I highly appreciate. Since the location is a place I don’t really know much about, the film has wonderfully introduced the place to me in a way I wasn’t expecting. And yes, I really like the ending credits song but until now I still don’t know the title.

So that’s about it for my first time at the French Film Fest and World Premieres Film Festival.