#Katsuya Tomita

[dare-g]

Tenzo (2019)

[cinemaronin]

Bangkok Nites (2016)

バンコクナイツ Bangkok Nites (2016)  directed by Katsuya Tomita

[8bitsupervillain]

Higurashi When They Cry Hou Ch. 3 Tatarigoroshi pt. Final

I'm doing things slightly different here.

The following takes place between parts 17 and 18 of my playthrough. The interview with Keiichi is a post-credits scene, but because of the amount of screenshots I took during the credits and the typing I did for some of the stuff coming up I figured to treat it as a separate thing. A nice little denouement. I really hope tumblr doesn't murder the quality of the screenshots here. Italicized words are my own interjections and not what is written on screen. I tried my best with some of the later parts.

Basically during this part and the credits I kept mashing the screenshot key.

"I made him seem like a very good person. I'll need to make him into a terrible criminal in the end."

"Apparently you're supposed to call disasters like the Great Hanshin Earthquake severe disasters. Still it's a terrifying operation plan. Though I guess sterilization operations are like this. I need to think hard so it's realistic."

"Jirou Tomitake A mysterious old man with the role of an extra yet still popular. He won't be doing much for a while.

Miyo Takano I made this character seriously suspicious. Seems kind of like the last boss. Maybe she should be to one to take the punches in the end. I need to make her so bad even coach would punch her. Maybe a full transformation in the end is in order.

Kuraudo Ooishi A Completely enigmatic man, though I'll admit he's convenient. Maybe he'll turn trustworthy in the end after clearing up the misunderstandings?

Katsuya Kumatani A completely enigmatic man, though I'll admit he's convenient. Maybe he'll turn trustworthy in the end after clearing up the misunderstandings?

Why is Kumatani and Ooishi's the same?

Kyousuke Irie I made him seem like a very good person. I'll need to make him into a terrible criminal in the end.

Rika Furude A convenient character who can't help but garner popularity. If Satoko doesn't get more popular with this, then she might not be able to make a comeback. Speaking of suffering, maybe Mion has it worse (pained laugh). A mysterious girl, in a way. The incarnation of the curse theory?????"

"Hinamizawa Village Gas Disaster In Memoriam List Apparently you're supposed to call disasters like the Great Hanshin Earthquake severe disasters. Still it's a terrifying operation plan. Though I guess sterilization operations are like this. I need to think hard so it's realistic.

Reina Ryuugu (spelling?) Passed away in the great Hinamizawa disaster. May she rest in peace.

Mion Sonozaki Passed away in the great Hinamizawa disaster. May she rest in peace.

Oryou Sonozaki Passed away in the great Hinamizawa disaster. May she rest in peace

Satoko Houjou Went missing during the great Hinamizawa disaster???

Teppei Houjou Went missing during the great Hinamizawa disaster???

Ichirou Maebara, Aiko Maebara, Daiki Tomita, Suguru Okamura, and Kiichirou Kimiyoshi Passed away in the great Hinamizawa disaster. May he rest in peace. (I didn't feel like typing it out five times)

Rumiko Chie Went missing during the great Hinamizawa disaster???

Yukikazu Kameda Went missing during the great Hinamizawa disaster??? I have no recollection of who Kameda is whatsoever."

"Tatsuyoshi Kasai I wonder if he really has a thing for Shion, that would be so cute if he did, hau u.

Shion Sonozaki The more minor of the twins always gets more popular, but to think it would still hold true. Maybe it's fate, or maybe coincidence. You're okay to think of watanagashi considering the suicide, though."

"Keiichi Maebara Did he just end up going crazy in the end? My condolences I suppose. Keiichi really never dies in a good way. Am I not allowed to laugh?

Diagnosed with a severe mental disorder… Mental disorder, what!? But with so many terrible things happening, people will break. You must never forget that feeling. We all live because we have a heart to live with. If we forget that, we are just living puppets. Remember you're alive and have a soul.

The more minor of the twins always gets more popular, but to think it would still hold true. Maybe it's fate, or maybe coincidence. You're okay to think of watanagashi considering the suicide, though."

This is the end of the story related text. The rest is credits for the episode. I think this is written from the perspective of whatever is actually behind the Hinamizawa/Oyashiro curse. The first part, about making him a villain again was shown way back at the very start of the series before the title card of Onikakushi.

""Higurashi: When They Cry" Serial Murder Novel Number 3: Tatarigoroshi A mysterious old man with the role of an extra yet still popular. He won't be doing much for a while.

I'm a little sleepy. Maybe I haven't been getting enough sleeping and gaming with all my heart. Or maybe I just want to play ragnarok online Oh, puritan, hah, hah, moe!

Scenario: Ryukishi07 Hello, I'm ryukishi07. It was a fierce battle this time, like it always is.

Partner in Crime: Yatazakura You really did a good job this time!! Let's put out the best stuff brothers can manage! (I might be wrong on this one?)

Scirpting: Yatazakura Thanks for everything again!

4U You're another one I always rely on. Thank you for everything you do."

"BT Your kind encouragement encourages me. Thank you so much.

Scripting Language: Me finding this scripting language was how it began. I wouldn't be here today without it.

Still, I'm really sleepy. The fatigue of a thousand years as they say. I may be doing this for fun, it's hard on my body. But it's nothing as long as i can get your thoughts and reactions!

4U I took so much of your time, so I'm sorry I'm late again. Gotta go debug more"

"BT You're another one i always rely on. Thank you for everything you do.

Production Yat Looks like he's got the hang of it. He was very fast on the clean up this time.

Graphics: Ryukishi07 Part of me wants a good artist, but having to trust someone else with it scares me too much (I can completely empathize with the creative idea of "only I can do this!)

Background location: Kameya Without your generous help, Higurashi would not exist. All those beautiful backgrounds are yours.

Yato Sakura Without your generous help"

"Ryukishi07 Without your generous help

Tsubaki Hey, this is totally nepotism, isn't it? Well, let's put that off as a joke

LRRP: Kameya You are a god. Sorry fo the weird abbreviation LRRP. I look foward to working with you and Daisuke in the future.

Jika Thank you as always, to hru. ab it stuc kin ro, tho ugh if brother unit e we'll be invinicible! Let's do our best!"

"Amamizu/Scarlet Thank you as always to hru.ab itstuc kin (The same thing is written for Amamizu and Scarlet here, and I admit I kind of gave up trying to figure out what's written there. "Thank you as always tohru? a bit stuck in?)

Music and SFX The Music studio Without beautiful music the world wouldn't turn. The main theme is important. It's a vital factor.

Dream Island Development Room Being able to mess with things from my house is a pretty huge plus.

Escateli~na Being able to mess with things from my house is a pretty huge plus."

no love for Koji. Awww.

"Minigames: BT Thank you so much for alwasy submitting great minigames. Give me some advice when adjusting them. Personally, I'd rather tsubaki in a ruse(?) s picture not be excessive I wonder why he doesn't understand?"

I wonder if the original release way back in the day had minigames in it? Like the club activities are playable games maybe? I'm now envisioning a significantly worse version of this game existing because it has something like the fucking awful gambling minigames from a Leisure Suit Larry just crammed in there.

"Homepage 07th Storming Party Still, I'm really sleepy. The fatigue of a thousand years as they say. I may be doing this for fun but it's hard on my body. But it's nothing as long as I can get your thoughts and reactions! Me finding this scripting language was I began. I wouldn't be here today without it.

Created by: Pride is fighting under your own flag. So I hope you understant why i don't want to "use my flag to make something weird. if you don't like it then raise a flag or two of your own." I hope this becomes a work to be proud of for life."

"Directed by: I'm ryukishi07. The path here has been a long one. But we're only midway through! The real stuff is still to come! I'll work harder than ever!"

Trying to decipher these and making sure I had them correct was a surprisingly annoying process. No one else on the entire rest of the internet seems to have bothered trying to decode what it all said. The steam forums especially were less than helpful. Just a bunch of people arguing six years ago about the veracity of what it says, and whether it counts as spoilers or MangaGamer "screwing with the plot." I do apologize for some of the attempts on my part basically just falling apart, but try as I might I just couldn't think of a way to make the letters available make any sort of coherent sense.

I mentioned it before, but I'm fairly positive that everything before the game credits is the entity behind the events of Higurashi remarking on the pawns they have available to toy with. Everything at the credits until the end title card there I'm sure was just Ryukishi07 having fun with it.

Gonna be honest with you here, I liked it, but not quite as much as chapter two. A reddit post I saw while trying to decipher the credits bits summed it up best: "Keiichi is cringe."

Gotta work towards a good ending. Can't just give it to your audience.

Let the god child drink!

Yeah, you're gonna have to address the body count of a thousand people eventually.

*sad trombone* Although I must say I do like the idea of playing as a protagonist other than Keiichi. Let the lunkhead go do something else, it's Shion's time to shine.

Keiichi aside, I liked Chapter Three: Tatarigoroshi, it was a severly depressing read at points, but it did provide some interesting mysteries towards the end. Why don't the dead stay put in Hinamizawa, what is puppeting the bodies around, and for what purpose? Why in this particular go-around was there a deadly volcanic gas that killed everyone in the town shortly after Watanagashi? Who were the twenty that disappeared? Satoko and Teppei were certainly two of them, but who were the other eighteen? Is it the masterminds of the cult? What is the importance of the woman who died at the start of the chapter, and did she really have any importance to the plot? I know there was the implication she was involved with the Sonozaki crime syndicate, but overall her entire subplot just vanished towards the middle of this chapter. Who killed Rika and why did they do it in a way similar to the murdered woman at the start of the chapter?

This chapter does however lend greater strength to the supernatural killer angle. Deliberately so, I'd say, since Chapter Two: Watanagashi leaned more hevily on the human angle to justify the killings.

Also:

"The shortest scenario," bullshit. This was just as lengthy as chapter two! It might seem shorter in my playthrough/readthrough, but that's only because I didn't want to be posting a bunch of screenshots and discussions about domestic violence. I felt it would be tonally at odds with my often lighthearted comments about the VN.

[lagendageek]

Le Hanami 2023 au Parc Botanique de Haute Bretagne aura lieu au Chatellier (35) du 22 au 23 avril 2023. Le Parc botanique de Haute Bretagne a le plaisir de vous annoncer la tenue d'un week-end évènementiel "Hanami" les samedi 22 et dimanche 23 avril 2023. Le Hanami est une fête traditionnelle de printemps. C'est un événement marquant de la culture japonaise au cours duquel les parcs sont investis pour pique-niquer sous les cerisiers en fleurs. Pour cette occasion, nous proposons au grand public comme aux passionnés de venir découvrir nos jardins d'inspiration japonaise autour d'un programme constitué d'une douzaine d’ateliers*, d'un concours de Cosplay* en collaboration avec Japan Spirit Event, d'une conférence sur l'art des jardins au Japon, de projections d'un film documentaire "Tenzo" (réaliser par Katsuya Tomita et présenter par Bastian Meiresonne), d'un concert donné par le groupe traditionnel ZEPPIN et de cérémonies du thé. Nous aurons ainsi le plaisir d'accueillir 12 intervenants, professionnels et artistes. Toutes ces activités sont proposées sans surcoût. L'entrée sera même gratuite pour toute personne venant costumée en tenue traditionnelle japonaise ou en Cosplay thème Japon. La tarification habituelle s'appliquera pour les personnes non costumées. (9,90€/adulte; 29€/famille) *L'inscription aux activités se fait par mail, à l'adresse : accueil@jardinbretagne.com. En présence de : Masae Robo, Miwa Moya, ZEPPIN, Bastian Meiresonne, Japan Spirit Event et Jean-Hubert Gilson.  

[bonheurportatif]

Aujourd'hui, j'ai bu mon café juste à côté du réalisateur japonais dont je venais de quitter le film au tiers de sa projection. J'ai eu l'impression furtive d'être un lycéen pris en train de sécher, avant de réaliser qu'il n'avait pas fait l'appel en introduisant la séance.

[cbnfvrr]

Bangkok Nites - Jardin des Délices reloaded

Kuzoku, trois syllabes tranchantes pour désigner une tribu d’ascendance divine venue s’échouer dans le caniveau. Des personnages imaginés par feu Taku Ikawa, cinéaste et romancier qui fut, aux cotés de Toranosuke Aizawa et Katsuya Tomita, l’un des co-fondateurs de la cellule ciné-dissidente du même nom en 2001. Kuzoku, une assertion qui, une fois explicitée, permet déjà d’entrevoir ce qui compose la matière dont est faite le cinéma de Tomita, devenu en l’espace d’une petite vingtaine d’années et de quatre long-métrages la tête de proue du collectif. Une matière informe et radical, fruit d’une collaboration de chaque instants avec Aizawa, qui irrigue un cinéma à la fois primaire et mystique, syncrétique et essentiel.

Bangkok Nites, dernier film en date du duo, en incarne sans doutes la forme la plus aboutie. Sorte d’ouroboros tiers-mondiste, itinéraire kaléidoscopique à travers un Asie du Sud-Est que « Dieu a oublié » selon la formule consacrée par les vestes de treillis brodées, le film se veut dérive lancinante au coeur d’un enfer que Jérôme Bosch n’aurait su imager. Il s’ouvre sur une citation à Apocalypse Now alors que Bangkok, « résidence du Bouddha d’Émeraude », nous apparaît depuis les hauteurs d’un building grand standing révélée par la nuit. Référence-clef si il en est, le blockbuster (au sens premier et martial du terme) psychédélique imaginé par Milius d’après Joseph Conrad illustre l’entrée dans la modernité brutale de cette région du monde en faisant du choc des civilisations une fête macabre et, en tant que production américaine, permet a Katsuya Tomita une profession de foi méta - son film sera un essai documentaire se jouant de la fiction, comme si le cinéaste revendiquait son droit de réponse (et ce dans un film adoptant certains des préceptes chères au Nouvel Hollywood) en remettant en question le don d’ubiquité propre à l’Empire. D’ailleurs, croiser le regard de Tomita et son scénariste ne trompe pas, l’affabilité toute japonaise qui régit les manières des deux quarantenaires peine à masquer le caractère voyou qui les anime - une âme sans doute nourrie aux mêmes feux que celle qui produisit les pinku-eigas délinquants de Koji Wakamatsu et Masao Adachi un demi-siècle plus tôt. La méthode Tomita donc, c’est d’abord faire de l’entreprise cinématographique un geste courageux, et de fait profondément authentique : être brave, c’est voir le monde dans son entièreté, saisir le vulgaire et l’onirique, les cocktails translucides et la jungle millénaire. Lui et Toranosuke Aizawa ont vécu la Cité des Anges quatre ans durant, parcourant principalement la rue Thaniya, segment du quartier rouge réservé aux japonais, à la recherche de ce que deviendra leur film. Apparaît alors Subenja Pongkorn, martyre besogneuse qui incarne le personnage autour duquel s’articule la structure narrative du métrage puisque le voyage de la jeune Luck jusqu’à la capitale est ici effectué à rebours le temps d’un retour à Isan, province miséreuse et méprisée située au Nord-Est du pays. De là seront abordées Vientiane ou Diên Biên Phu, les fantômes puis les monstres - là où le passé existe, abonde. Katsuya Tomita, pour la première fois acteur dans l’un de ses films, est un homme en marche, une figure vagabonde dont la trajectoire de vie erratique trouve résonance dans le paysage scarifié de cette région du monde entièrement vendue au rêve libéral de l’Occident. Il est ici question de percer à jour « l’utopie totale » (pour reprendre les mots de l’un des personnages du film) que préfigurèrent les programmes Rest & Relaxation mis en place par l’armée américaine à l’époque de la guerre du Vietnam, et dont la capitale thaïlandaise se veut l’épicentre : perdu au coeur de friches asservies et multicolores, Tomita filme une tragédie avec au lèvres le sourire de celui qui n’as plus ni espoirs ni craintes. En résulte un film mutant qui ne saurait être décrypté à l’aune d’un quelconque mouvement, de quelconques écoles - à la rigueur, la filiation avec Werner Herzog semble une évidence, notamment lorsque se pose la question des moyens déployés pour faire un film, mener à bien un projet, accomplir une mission. Le cinéma de Tomita n’est pas cinéphile, c’est celui d’un ex-chauffeur routier en mission selon qui un métrage se construit au fil de rencontres : ici la star d’un bordel, là-bas un vétéran américain resté profiter du soleil … Émerge dès lors une esthétique de l’imprévu, sorte de réalisme-magique contrefait. La caméra est embarquée et laisse le réel nous stupéfaire à mesure que les scènes se tournent : quelque unes des images captées par Tomita saisissent la rétine, la plupart sont vulgaires et désuètes - un peu comme la vie la vraie. Bangkok Nites est une franche réussite visuel en ça qu’il fait esthétique d’une réalité que la fiction au cinéma semble le plus souvent récuser par nombres d’artifices. Le cinéaste et son équipe embrasse le numérique, son voyeurisme haute-définition, pour produire des images désarmantes - en fait, l’on pourrait arguer que depuis Saudade, Katsuya Tomita s’efforce à opérer une mise-à-jour du « cinéma direct » alors qu’il questionne le potentiel pernicieux de l’outil caméra et renvoie au Diable son rictus. Il capte les fragments d’un temps présent ordonné ensuite au montage, le simulacre devenu ordinaire de par son omniprésence. Se créer ainsi un équilibre désarçonnant puisqu’il est difficile, de prime abord, d’y distinguer la voix d’un auteur, de saisir le ton du métrage : Bangkok Nites existe de par les témoignages qu’il entremêle, c’est un voyage initiatique qui arriverait trop tard, une prière électrique et désespérée. Tomita et Aizawa ne filment pas des cicatrices, ils tracent le contour de plaies impalpables mais béantes, faites fondations de villes impossibles et de territoires outragés. Bangkok Nites, où la seule science-fiction que nous méritions.

[yaminashi]

BANGKOK NITES

[nervespike]

Bangkok Nites (2016) - Katsuya Tomita

[vagabondedlife]

Saudade - Katsuya Tomita

[shindrake]

Recensione: Bangkok Nites, di Katsuya Tomita ★★½

Recensione: Bangkok Nites, di Katsuya Tomita ★★½

Il turismo sessuale giapponese vede gli uomini correre nelle terre della Thailandia. La prostituzione diventa quindi una delle forme più importanti per arricchirsi e dare un futuro non solo alla propria famiglia ma anche al proprio villaggio.

Il film di Katsuya Tomita è disordinato proprio perché gli interessi individuali dei protagonisti sono alterati dalla libidine.

Protagonista del film…

[kansassire]

Bankoku naitsu aka Bangkok Nites, 2016, Katsuya Tomita

[recentanimenews]

Miyu Tomita Voices Magical Plasterer Girl in Special Anime within Live-action Film Kodomo wa Wakatte Agenai

    From the upcoming live-action film adaptation of Rettou Tajima's Kodomo wa Wakatte Agenai (Kids won't understand) manga, a short clip to introduce its anime-within- the story, Magical Sakan (Plasterer) Girl Buffalo KOTEKO, is now streamed. "Kote" means a trowel for a plasterer in Japanese.

  Buffalo KOTEKO is the favorite anime series of the film's protagonist Minami Sakuta (Moka Kamishiraishi), an anime otaku, and her fellow anime otaku, Shohei Moji / Moji-kun (Kanata Hosoda). In the film's story, the anime becomes an important trigger to bring them closer together.

  This clip is a special version that includes scenes that are not used in the actual film, as well as the ED theme song "Sakan no Kokoro de" (With a plasterer's heart) sung by Miyu Tomita, who voices the title character KOTEKO. In addition, Daisuke Namikawa plays the Count of Cement, Takahiro Sakurai plays Mortar, Tatsuhisa Suzuki plays Concre Taro, and Sho Hayami plays Shotoku Taishi-sama. Katsuya Kikuchi (The Royal Tutor) serves as the director of the anime part, alongside the anime character designer Reina Okuyama (The Royal Tutor), and Typhoon Graphics (Digimon Adventure tri.) works on anime production.

    The live-action film Kodomo wa Wakatte Agenai will be released in Japan on August 20, 2021.

    "Magical Sakan Girl Buffalo KOTEKO" special clip:

    ＼　　　\\　　　//　　　／ 　#子供はわかってあげない 　　　劇中アニメ????✨ 魔法左官少女バッファローKOTEKO 　　　特別映像を公開‼️ ／　　　//　　　\\　　　＼ 豪華声優陣と実力派スタッフたちが熱を入れ込んだKOTEKO、映画には含まれない特別映像はこちらから????https://t.co/LAHDh936Tk pic.twitter.com/SPI9Yaauc8

— 映画『子供はわかってあげない』8月20日(金)全国公開????????☀️ (@agenai_movie) July 20, 2021

    "Kodomo wa Wakatte Agenai" trailer:

    Source: "Kodomo wa Wakatte Agenai" official website / Twitter

  ©2020 "Kodomo wa Wakatte Agenai" Production Committee

©Rettou Tajima/KODANSHA

  By: Mikikazu Komatsu

[japoninfos]

“Tenzo” de Katsuya Tomita Hanabi vous présente le film "Tenzo" de Katsuya Tomita, docufiction repérée à Cannes, qui sortira en salles le 27 novembre.

[yvessalmon]

Director, Katsuya Tomita. ‘Tenzo’ was showing in La Semaine de la Critique at Cannes Film Festival. Portrait made for Screen International @screendaily Shot with @fujifilmx_uk GFX50S #festivaldecannes #portrait #director #japan #katsuyatomika #tenzo #lasemainedelacritique #screeninternational #mediumformat https://www.instagram.com/p/BygClnNABLa/?igshid=1xolwzawpln62

[apocalypticmovierp]

‘Tenzo’ Trailer: Watch Teaser For Katsuya Tomita’s Critics’ Week Premiering Drama [Cannes Exclusive]

It might be the smallest of the various Cannes sidebars, but the International Critics Week is nevertheless a force to be reckoned with. Focusing primarily on first and second features by newer filmmakers, directors who received an early jump start in there career include Bernardo Bertolucci, Wong Kar-Wai, Francois Ozon, Jacques Audiard, Leos Carax, Alejandro Gonzalez Inarritu, David Robert Mitchell, Trey Edward Shults, and Julia Ducournau.

READ MORE: 2019 Cannes Film Festival: The 21 Most Anticipated Movies

This year’s installment is already underway, and one of the more intriguing entries comes from Japanese filmmaker Katsuya Tomita, whose previous movies “Saudade” and “Bangkok Nites” premiered at Locarno to much acclaim.

Continue reading ‘Tenzo’ Trailer: Watch Teaser For Katsuya Tomita’s Critics’ Week Premiering Drama [Cannes Exclusive] at The Playlist.

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[rowel-anime-trends]

The Royal Tutor's Katsuya Kikuchi directs segment starring Miyu Tomita