#Kazuya Oshima

[tadasukemakino]

nirei_fukuzumi Thank you for everything in 2024. This year I had a lot of trouble with my health, like getting hand foot and mouth disease and multiple mid ear infections... So I hope 2025 is a year I can spend in good health.. LOL I hope my entire family can stay healthy 🙏 Have a nice new years!!

[crazyasianlove]

Seigi no Tenbin S2 Ep. 4 (Sub. Esp)

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[luna-rainbow]

JDorama 2024 Spring

I didn't watch any Jdrama last season, but as is usual for spring (more than winter), there are some impressive ensembles this season.

Believe / "Bridge to you" Stars: Kimura Takuya, Takeuchi Ryoma, Amami Yuki

A bridge architect is indicted for negligence when an almost-complete bridge collapses and kills one of the workers. He pinpoints the issue to inferior materials bought without his knowledge, but the CEO of his company forces him to take the brunt of the blame. Now in jail, he sets about trying to build an appeal to prove his innocence.

The first episode was a little slow, to be honest, and it jumped between present and flashback without warning, although it was pretty obvious which was which. I was shocked when Amami Yuki appeared, and even more so when she was revealed to be his wife. I never thought I'd see KimuTaku and Amami Yuki side by side in a drama (it's an ego thing in the Japanese industry). They have very different acting styles (she's theatre-trained, he's spent most of his career in front of the cameras) but she's softened her mannerism considerably to match his vibe...although they still don't have much husband-wife chemistry.

Honestly, I feel like the premise so far feels a bit...thin, and I hope he's not going to spend 8 episodes in jail because that means they're really stretching the plot.

Anti-hero Stars: Nasegawa Hiroki etc

A criminal lawyer is willing to go to any lengths to defend his clients, throwing into question what the concept of "justice" really means.

This has an ensemble cast of up and coming stars like Kitamura Takumi, Horita Mayu and Oshima Yuko, as well as respected veterans Nomura Banzai and Kimura Yoshino; all great and charismatic actors. I've seen Nasegawa in two other dramas previously (Chiisana Kyojin and Date - as well as Boss but I don't think that counts), and I found him inexplicably annoying in both.

As I do here, although I don't think the fault is entirely his. The drama goes out of the way to be so bloody melodramatic, with close up angles of him hissing his lines, rousing orchestral music and long unnecessary philosophical speeches. I watched the first 2 episodes at 1.5x-2x speed and still finding it a chore. I wonder if I would enjoy it more if I liked Nasegawa because at least, you know, I'd enjoy the visuals of a BBC Sherlock-wannabe (what's with the long coat and upturned collar) delivering his equally caustic lines and creepy mirthless smiles, but I'm finding him neither interesting nor likeable at this stage, so as much as I like the supporting cast, the rest of the series is going to be a pass from me.

Destiny Stars: Ishihara Satomi, Kamenashi Kazuya

Kanade was in a close-knit friends group in law school. One day, her boyfriend Masaki goes out to grab some groceries - or he tells her - but gets involved in a car accident where a mutual friend dies. He subsequently disappears. 12 years later, she's now a prosecutor getting engaged to a doctor boyfriend, when Masaki reappears and suggests that there was more to the car accident, and more to the death of Kanade's father some 20 years ago.

Another extremely convoluted set-up for a story. I generally enjoy watching Ishihara Satomi, and she's mostly good in this, but occasionally she's still...too much of herself. Like the scene where she confronts Masaki's father, she resorts to her usual jittery girl mode - which might have worked when she was acting as the company intern or newly employed copy editor, but looks really unprofessional when she's been the public prosecutor for more than 6 years. I get that she was flustered, but it didn't feel like a continuation of the same character.

I really like Tomo's actress who I've only seen briefly as a side character in Kyojo so I hope she gets a bigger role as the story develops. Kame's acting has definitely matured, but is still on the bland side here, probably because we don't get a very good sense of who Masaki is. I'll stick with it, mainly for Ishihara, but I do hope the resolution is going to be worth it.

[17101988]

Takano and Kumiko. That moment when their eyes finally met ❤️🥲

[anime-end-cards]

Tsugumomo

Episode 10 end card by Oshima Towa

[byneddiedingo]

The Man Who Left His Will on Film (Nagisa Oshima, 1970)

Cast: Kazuo Goto, Emiko Iwasaki, Sukio Fukuoka, Kenichi Fukuda, Hiroshi Isogai, Kazuo Hashimoto, Kazuya Horikoshi, Tomoyo Oshima. Screenplay: Nagisa Oshima, Tsutomu Tamura, Masato Hara, Mamoru Sasaki. Cinematography: Toichiro Narushima. Art direction: Shigemasa Toda. Film editing: Keiichi Uraoka. Music: Toru Takemitsu. Nagisa Oshima's The Man Who Left His Will on Film owes something to Michelangelo Antonio's Blow-Up (1966) in that both involve photography that tantalizes and hints at an unsolved (unsolvable?) mystery. But Oshima's film has political overtones, a kind of goodbye-to-all-that movie about the waning of student protests in Japan. The story it tells is about the quest of Motoki (Kazuo Goto) to find out why a young activist, Endo (Kazuya Horikoshi), committed suicide when he was being chased by police across a rooftop. Motoki tries to puzzle out Endo's motives by retracing the footage he left in the camera he was holding when he leaped (fell? was pushed?). But the film resists interpretation almost as much as the one Oshima made about it. Oshima is always surprising and enigmatic, and this is one of his more challenging works.

[cannondisabledcharacters]

Accepted Character 3/28/2022

Ali from Gankutsuou: The Count of Monte Cristo

Kagi Tanaka from Ninja Slayer From Animation

Ham Dan-I from My Life as an Internet Novel

Keegan from Blind Men

Appolonius from Magi: The Labyrinth of Magic

Akio Tobikura from the I��Chu series

Bocchi Hitori from Hitoribocchi no Marumaru Seikatsu

Inami Mahiru from Working

Yuuma Satou from Zettai†Joousei

Holy Joestar-Kira from JoJo's Bizarre Adventure

Shaggy from Scoob and Shag

Sasuke Uchiha from Naruto 

Naruto Uzumaki from Naruto

Hajime Shino from Ensemble Stars!

Yama-Chan from Wagatsuma-san wa Ore no Yome

Kichi from Kaiba

Bi-rak Chun's Grandmother from Love in the Mask

Kazuya Hiramasu from Bakuman

Tetra from Suugaku Girl

Gigalt Gangaragash

Natsuki from Mujuuryoku Shounen

Yukina Kosaka from Rolling☆Girls

Midori Matsusawa from Kaguya-hime

Freddie from Sakigake!! Cromartie Koukou

Ryuu Shizuka from Bakuman

Kotoko Yamada from Kingyosou

Yukiko Akaza from Yankee-kun to Hakujou Girl

Lise Acquin from Ie Naki Ko

Grete Bergum from Jul i Svingen

Nure Bergum from Jul i Svingen

Nata (Mikura Manaka) from Heavenly Delusion

Haruko Iishi from Hatarakanai Futari

Butch Walker from the The Heroes of Olympus series

Arthur Milligan from Ie Naki Ko Remy

Shino Oshima from Shino-chan wa Jibun no Namae ga Ienai

Sayaka Kamaishi from Class ga Isekai Shoukan sareta Naka Ore dake Nokotta n desu ga

Bey from the Star Wars series

Tomona from Inu Ou

old man from Famicom Detective Club

Sally Yung from Cowboy Bebop

Toshio Tazaki from Famicom Detective Club

unnamed man from Tokyo Babylon

Cleo from Tori and Samuel

Marcie from Dumbing of Age

Virgil Adamson from At First Sight

Lieutenant Colonel Frank Slade from Scent of a Woman

Bjørnar from Nordlys

Yako Hoshino from Yurara

Spoonface Steinberg from Spoonface Steinberg

John from Last Stop

Jun/Dark Jun Yamamoto from Portrait of M and N

648 Characters remain

[graphicabyss]

Aw, look at the soft little bean, his little butt perched on the very edge of the bench. Actually, it appears the racer, Oshima Kazuya, is his former classmate from Horikoshi.

[minimoonstar]

Watched/read

Feminine and feminist cinema.

House of Hummingbird: the main character, Eunhee, was in eighth grade in 1994, which is to say she -- and Kim Bo-ra, the director -- are nearly exactly my age. It’s a sensitive, Proustian evocation of a ‘90s South Korean female adolescence, parts of which I relate to (those pagers!), parts of which I knew nothing about (one date chyron I won’t spoiler, that drew gasps from the audience), and parts of which are evergreen (dysfunctional Asian families where the only love languages are verbal abuse and food, and emotional support is non-existent even for favoured first sons). The sporadic outbursts of domestic violence, in particular, are so true to life as to be triggering; it made me think of people IRL to whom I’d only recommend the film with a warning. The actors are all very good but the one I’ll think back to is Kim Sae-byuk, who plays Eunhee’s mysterious yet relatable Chinese tutor and imbues the supporting character with a vast sense of inner life. The camera watches her face and you feel what she’s feeling for this girl, from the other side of the unidirectional gulf that is the Tired Adult(tm) looking upon an eighth grader much like she once was.

21st Century Girl: a thematic omnibus of short films commissioned from emerging female Japanese filmmakers, each of which has to be about love, gender, or sexuality in some way. One does what one can with the running time: some oblique love stories, some LGBT themes, some in media res snippets of what might eventually end up as feature-lengths with a beginning and an end, lots and lots of photographic montage and manifestos in voiceover. I liked “Your Sheet,” a gender-fluid erotic story that was also the most successful bit of standalone short fiction, and the rom-com concept of “Sex-less Sex-friends.”

Dare to Stop Us: for once I would have liked a Q&A session with the director and writer, because I have questions. The film is a dramatization of the late ‘60s-early ‘70s imperial period of Wakamatsu Studios, the “pink film” (experimentally x-rated, but also raging leftist pink-o) outfit founded by Wakamatsu Koji, an enfant terrible of Japanese cinema who used to be yakuza and purportedly turned to film so he could kill off cops without getting arrested. The main character is Megumi, a hippie girl who joins the studio at the age of 21 and works her way up to first AD within the year, not least due to the other ADs quitting. Megumi comes off as a designated-naif entry-point POV, possibly -- I thought -- a composite of women who worked for Wakamatsu, and the arc of her story seemed to bend toward surviving (gender-neutral) workplace hazing and becoming a successful indie director in her own right, as Wakamatsu promises when he hires her. Spoilers: she is not a composite! She existed, and what happens to her is gut-wrenching! It’s a rug-pull, honestly, especially since the director Kazuya Shiraishi worked with Wakamatsu and the initial vibe is “feel-good biopic of characters and environment I have huge nostalgic affection for.” In retrospect, one has to conclude he was half making that movie, half interrogating how the guerrilla filmmaking milieu can chew up the people who love it most, and is particularly unforgiving to women even when their bosses and peers aren’t overtly sexist.

(I also have questions about the slickly urbane portrayal of Oshima Nagisa, sitting in a cafe with his sunglasses telling Wakamatsu not to push his pro-Palestinian documentary too hard because the film world is “run by Jews,” because hoo boy was that a Moment.)

[juniorformulamotorsport]

Sunday, 18th November 2007 – Macau, Day 8

I made another early start on Sunday, figuring that it might be interesting to get out for the warm up at 8 am and take some pictures of the WTCC cars as well as our boys. So I set the alarm for 7, got up, and gulped down a coffee. I was outside the hotel by 7.30 (on a Sunday, when I was nominally on holiday!). The locals were up early practicing Tai Chi or something very similar round the fountain at the top of the hill. There was a breakaway individual a little further down the hill, and he seemed to be moving to the music in his head rather than that issuing from the speakers along the car park edge. Regretting that I had no time to stop and take photos of them, I headed out intending to try and get the other side of Melco. I know it can be done, but having following my nose I ended up at Dona Maria instead, which was a bit short on light given the time of day and anyway is listed as somewhere you’re not allowed to stand unless you get there (and across the track) at the start of the day, and then you’re not allowed to leave until it’s all over! I didn’t want to do that. I had other plans for the day.

That meant I had to retrace my steps until I ended up where I’d been on Thursday. It didn’t matter really – the light was different, and they’d stopped messing about and were now allowing you to stand wherever you wanted. I suspect someone from the press office had had a word or two with the officials… Anyway, I spent a happy half hour or so out there, finding that the touring cars were much more alarming at such close quarters than the F3s, probably because of the sheer bulk of them. Certainly, I was standing slightly further back when they were out there, and I didn’t feel at all inclined to hang my elbow, or any other part of my anatomy, over the barrier frankly. Anyway, I must have been close enough, because when we ran into Tiago Monteiro and Rickard Rydell wandering the streets of Macau later that day, Tiago reckoned he’d seen me there. Someone else who did was Stephen Jelley, who gave me a cheery wave on his slowing down lap (any other lap and I would have slapped him), which I actually managed to catch on camera.

I also managed to catch a long sequence of shots of Edoardo Mortara getting it all very badly wrong and slamming into the barriers at the end of the road, and then getting out and glaring at the car as if it was its fault and not his… It was quite comical, at least to a casual observer.

After the session ended I returned to the Pousada, via the Jardim de Montanha Russo, taking photos of the wonderfully gnarled, and aged trees on the way. The plan, and it was a good one, was to shower, breakfast and collect the laptop and Lynne, who had very sensibly declined to join me on the warm up. And so, ready for the main race of the day, we headed down to the press office, taking advantage of the hotel shuttle bus to get us there.

We watched the WTCC title fight being decided in favour of Andy Priaulx for the third time in as many years (and no one was more surprised than him when the two main contenders both broke down a lap from the end, thus helping him to the title – a successful driver always needs luck as well as talent and Andy seems to have more of the former than the rest of the field put together). We arrived, in fact, just as Alain Menu won the first of the two races, which meant we could still say that he only wins when Lynne is watching him. He claims this is bullshit but we keep saying it because it winds him up something rotten, which is always fun!

Anyway, with the touring cars out of the way we could all settle down to the real business of the day, the F3 Grand Prix. In previous years, access to the pitlane and grid has always been a serious issues, with only pink bib holders being allowed in the pits and pit lane, and blue bib holders being allowed on the grid only through a gate at the far end, and then only after the locals casinos, brothels and such have shepherded their girls (a mix of skinny Chinese girls and hard-faced Eastern Europeans with bad dye jobs, all wearing ridiculous plastic outfits and showing as much of their knickers as they possibly can) out there and surrounded the cars with them, so that it’s hard to get a picture without one of them appearing in it. I usually manage to avoid them, and if motorsport.com want pictures of the girls, someone else can take ‘em, not me (which was pretty much the gist of the conversation I had with team manager Michele Quaife at Carlin – as she said, she and Vicky work three times as hard as the guys in the team and have to really slog away at it to gain respect and then these creatures turn up – she wasn’t impressed and the Carlin cars notably didn’t have any hangers on around them). Anyway, I digress. This year, despite notices to the contrary, I wandered through the Double R garage (where the remains of Bruno’s car were being used as a lunch table), and into the pit lane.

I had to get out. I’d just been treated to the sight of Sebastien Buemi in his red and white flowery underwear, and no one should have to see that. Once out there no one blew a whistle at me or in any way tried to stop me. And I wasn’t the only one there. There were several of us all taking advantage of an apparent official change of heart. It was an odd but not unwelcome change. For one thing it meant there wasn’t a hideous scrum to get through the tiny gap in the safety fencing and for another it meant I managed to get to all the way to the back of the grid, and take all the photos I wanted on the way up the grid, and I still arrived back in the press office just as the five minute buzzer went warning everyone to clear the grid. I could probably even have taken photos of the Lion Dance and the drivers meeting the governor of Macau, the ritual undertaken every year before the race starts, but I was busy being waved at cheerily by Willi Weber (a slightly worrying development, frankly – I’m surprised he remembers me – we only met twice, and that very briefly) and having Bruno show me his cracked thumb (a very Technicolor bruise was developing).

I won’t re-report the race, but the podium was funny afterwards. First there was the spectacle of Kazuya Oshima discovering for himself just how heavy those lotus flower trophies are (put it this way, I wouldn’t want to lift one one-handed). Then there was the increasing disbelief on Ollie Jarvis’s face as he was handed a series of trophies by a succession of dignitaries), and finally the sight of Ollie spraying Champagne with blood pouring down his chin – he’d had trouble getting the cork out of the bottle, and as the other two went for him with their sprays, he’d ended up with his face over the bottle. The cork shot out, hit him in the face, and he put his tooth clean through his lower lip! Apparently that wasn’t the first Champagne bottle-related disaster to overtake him this year, either. He’s not normally accident prone, he was keen to stress!

Oh, and at the press conference, it became clear that Japanese dentistry may leave quite a lot to be desired (and also coincidentally that Kodai Tsukakoshi is a very odd looking critter)…

I shall digress again here – once, several years ago, Manor Motorsport were running a couple of seriously strange looking kids, of whom the Pratchett description of an Igor as a self-made man with none of the pieces fitting could be aptly used. A wet soggy race circuit somewhere and time on our hands and John Booth, the team owner, became Dr. Frankenbooth in our twisted minds. Well it looks like Kodai is another of Dr. Frankenbooth’s experiments, which make you wonder just what it is he’s trying to build up there in Sheffield!

A discussion with a team member who must remain nameless on the subject of Kodai’s apparent lack of English went along these lines: ME: ”So how does he get along with the Manor tea ceremony then?” (This consists of someone brewing up the most hideously strong tea imaginable, in Bertha, the tea pot that has never been cleaned, though it has been soldered more than once, and then someone yelling ”Tea’s up!” I should add that this is the team that ships 30 gallon containers of Yorkshire water all the way to Macau to make sure they can get a proper cuppa!). TM: ”Oh, he’s always first there.” ME: ”What does he say about it?” TM: ”He doesn’t say anything. He just smiles a lot. He’s good at smiling. With those teeth he has to be!”

Anyway, press conference over with and results published, Lynne legged it back to the hotel while I finished the report. The prize giving dinner was due to start at 19.00, which gave me just about enough time to get everything written, checked and sent. I had just typed the last sentence when Lynne reappeared, showered, changed and re-made up. I would just have to make do with cleaning my teeth, combing my hair, and changing into fresh clothes (underwear and all) in the press office toilets. The one thing we’d forgotten were shoes, so while Lynne checked the report prior to sending it, I changed into my white linen trouser suit, red sequined camisole, and… white Fred Perry trainers that I’d been in all day! It didn’t quite work, but what the hell!

Dinner was interesting. We joined Stephen and Jenny, Robert and Lindsay, Glyn, “Sticker” George, and Bruno. It was a fun table, with a great deal of hysteria, especially when the speeches started to drag and Bruno threatened to cut his wrists with w coffee spoon if they didn’t stop soon! Actually, his big problem was that he couldn’t cut anything up because of his injured thumb. We did offer to help, but he soldiered on, milking it for all it was worth.

After dinner, and after all the trophies had been handed out, there was a certain amount of silliness, including me borrowing Alain’s trophy for winning the first WTCC race of the day so I could get a picture of Sam Bird with a trophy (for his Mum to use). Alain and Sam got talking, with Alain starting it off by gesturing at me. AM: ”She always takes the piss out of me…” SB (after some consideration): ”She always takes the piss out of me too!” ME: ”That’s because I like you both…” That silenced both of them, at least for a while.

As the dinner was breaking up, we allowed ourselves to be talked into going to the BMW post-race party. The only problem was no one seemed to be too sure where it was. We knew it was somewhere that might have been called D2 or possibly Sky21… We just had no idea which of those it was. We also knew it was somewhere ”past the Lisboa” which wasn’t a great deal more helpful frankly. Anyway, we dropped the laptop bag and just about everything except a small amount of cash and a credit card in Glyn’s room at the Rio and set off in search of a party! As we were passing the Lisboa we found Danny Watts and Fiona Leggate outside also looking lost. We joined forces and eventually, after a phone call or two, we were getting closer. Eventually, we found it. And yes, it is called Sky21.There then remained only the small matter of getting in. Actually, it wasn’t a problem at all. As we walked in, the security people asked if we were there for the party, and when we said yes, they ushered us to the lift. They also asked if we had wristbands, and when we said not yet, they said someone would supply them at the door! And on the 21st floor there was indeed a party and we were handed wristbands which would allow us to get drinks. The venue was pretty stunning – two floors of a new high rise building, one floor which seemed to be very much open to the outside world. The Jelleys had snagged a table, and the Jarvises soon joined us out there too. It was beautifully cool, and the Champagne appeared to be never-ending, though the waiting staff were variable (Sam proved himself very effective at getting a round from the bar, as did Jonathan Kennard, while Yelmer Buurman – the only one of the drivers to make an effort and dress up for the pasty – took over an hour to come back with the glass of Champagne he’d promised me – and he wonders why I don’t support him!) There was some dancing, much talking, Valerie Kennard slurring her words quite badly, a rambling discussion with Mellie Jarvis, Ollie’s sister, about fanciable drivers despite the fact that she’s with Sam, and a great deal of silliness, including Tom Coronel baffling Wendy by expounding his philosophy of life or something similar. Oh and telling us his 18 month old daughter has her own web site…We’re used to him. He doesn’t worry us too much (and none of us had pockets on our clothes). Wendy , on the other hand, is probably going to avoid us in future when we’re in social situations in Macau because she always seems to end up on the receiving end of crazed behaviour from Touring Car drivers… As we attempted to leave, much, much later, we were accosted by a very happy Andy Priaulx and party, and Andy was most insistent that Lynne and I must now be part of his winning routine, as we’ve been on the same flight as him the last three years… That means, he says, that we can’t go to Bangkok or Singapore first next year. Hmm…

Someone else somewhat the worse for wear was Brendon Hartley.

He was trying to get back to the Rio but clearly had no idea how to get there. We dragged him back with us, despite his attempts to fall into the hedges or go off in other directions. After startling Walter Grubmüller (far too easy to do) getting money out of the hotel bank machine – and giving him my wristband so he could go to the party – we were ready to quit. Brendon got in the lift with us (we’d been keeping an eye on him), and he apparently got out at the right floor. At that point he ceased to be our problem. He’d only been our problem in the first place because he’s driving for our favourite team next year and we didn’t want to see harm come to him.

Our problem was trying to get a cab once we’d collected our possessions from Glyn’s room. That proved difficult. The first cab driver – who was sitting outside the Rio – tried to tell us the meter didn’t work, so we got out. The streets seemed to be otherwise deserted. We set off to walk to Sands where we knew we’d find cabs. The second cab driver – outside the Mandarin – claimed he didn’t know where we wanted to go, so we got out. Third time lucky! At Sands, we found a driver who knew what he was doing and made it back to the hotel at 4.30, which is waaay too late for oldies like us!

Travel 2007 – Macau, Day 8 Sunday, 18th November 2007 - Macau, Day 8 I made another early start on Sunday, figuring that it might be interesting to get out for the warm up at 8 am and take some pictures of the WTCC cars as well as our boys.

[crazyasianlove]

Seigi no Tenbin S2 Ep. 2 (Sub. Esp)

DESCARGAR O VER ONLINE AQUÍ

[eastownrp]

Mods cheirosas, vocês têm sugestões de fcs japoneses +25?

Claro, meu amor!!

Masculinos: Sakurada Dori, Sakaguchi Kentaro, Fukushi Sota, Sato Takeru, Yamashita Tomohisa, Kamenashi Kazuya, Tegoshi Yuya, The GazettE, Chiba Yudai, Yamamura Ryuta, Sugino Yosuke, Shison Jun, Atsushi Sakurai, Hayashi Yoshiki, Hoshino Hidehiko, Sugizo, Inoran, Kyo (Dir En Grey), An Cafe, Kiriyama Renn, Go Ayano, Wasabi (Wagakkiband). 

Femininos: Kozue Akimoto, Mayu Watanabe, Shinoda Mariko, Nana Komatsu, Koda Kumi, Hamasaki Ayumi, Tanaka Reina, Michishige Sayumi, Oshima Yuko, Maeda Atsuko, Kashiyuka, Nocchi, Acchan (Perfume), Ringo Shiina, Kashiwagi Yuki, Shimazaki Haruka, Kojima Haruna, Tsubasa Masuwaka, Lena Fujii, Hikari Shiina, Nakashima Ami, Suzuhana Yuko, Kavka Shishido, Kuriyama Chiaki. 

Vamos deixar também aberto aos players responderem aqui nesse tweet! 

[freenewstoday]

New Post has been published on https://freenews.today/2020/12/23/nirei-fukuzumi-ends-super-formula-post-season-test-on-top/

Nirei Fukuzumi ends Super Formula post-season test on top

Fukuzumi, the only driver entered for Dandelion in the test following full-season teammate Naoki Yamamoto’s surprise defection to fellow Honda team Nakajima Racing, topped both two-hour sessions and set the fastest time of the test overall.

His best effort of 1m20.120s, set with just a few minutes to go in the morning session, put him 0.218s up on the best time set by Yamamoto on the first day of running.

Fukuzumi followed up with a 1m20.247s with around 13 minutes left on the clock in the afternoon to demote Nakajima regular Toshiki Oyu and complete a clean sweep.

Oyu edged out his new partner Yamamoto by just 0.002s with his best time of 1m20.505s, as the newly-crowned three-time champion set his personal best in the morning session.

Nobuharu Matsushita was a late addition to the test line-up as he replaced Yoshiaki Katayama on B-Max Racing’s roster, albeit piloting the #51 car that had been shared on Tuesday by gentleman racers Nobuhiro Imada and ‘Dragon’ instead of his usual #50 car.

The Formula 2 exile was third-fastest in the morning and fourth overall, followed by Inging Toyota pair Sho Tsuboi and Sena Sakaguchi.

Next up was Tomoki Nojiri in Mugen’s sole entry, Super Formula Lights champion Ritomo Miyata for TOM’S and Kondo Racing’s quickest driver, Sacha Fenestraz. Ryo Hirakawa completed the top 10 in Impul’s one and only entry.

Tatiana Calderon couldn’t quite replicate her impressive speed of Tuesday, slipping to 14th on the timesheets on her final day of running of the year for Drago Corse.

Enaam Ahmed meanwhile was 17th-fastest for B-Max ahead of Super Formula Lights driver Shunsuke Kohno, who only appeared for the final half-hour in the ‘Rookie Racing’-branded Inging driver that had been piloted for most of the day by Kazuya Oshima.

Fuji testing times:

Source

[byneddiedingo]

Shima Iwashita and Shin'ichiro Mikami in Youth in Fury (Masahiro Shinoda, 1960)

Cast: Shin'ichiro Mikami, Shima Iwashita, Kayoko Honoo, Hizuro Takachiho, Kazuya Kosaka, Junichiro Yamashita, Yachiyo Otori, Yunosuke Ito. Screenplay: Shuji Terayama, based on a story by Eiji Shinba. Cinematography: Masao Kosugi. Film editing: Keiichi Uraoka. Music: Toru Takemitsu.

Like the French New Wave directors, the Japanese also found themes and stories in the insurgent, rebellious post-World War II generation. But unlike such films as Jean-Luc Godard's Breathless (1960) and Bande à Part (1964) or François Truffaut's The 400 Blows (1959), the Japanese equivalents never quite caught on internationally. Perhaps it's because the French found a new approach to the material, where the Japanese directors were more directly inspired by the tone and technique of American movies like The Wild One (László Benedek, 1953) and Rebel Without a Cause (Nicholas Ray, 1955), which had a more moralistic or didactic tone, blaming the eruption of youthful rebellion on societal neglect. Even so shrewd a director as Nagisa Oshima, in his second feature, Cruel Story of Youth (1960), seems constrained to portray the departure of his young rebels from the old ways as shocking, whereas Godard and Truffaut relish their liberation from old moral norms. Youth in Fury (also known as Dry Lake) was also a second feature for Masahiro Shinoda, and it centers on young people caught up in the political revolt that culminated in student riots against the 1960 Japanese-American mutual security treaty. One of them is Takuya Shimojo (Shin'ichiro Mikami), who is politically engaged but also confused -- he decorates his walls with pictures of political figures ranging from FDR to Hitler to Fidel Castro. Essentially he's a nihilist. He becomes involved with Yoko Katsura (Shima Iwashita), whose father, a politician, has recently committed suicide, brought on by threats to expose his corruption. Her family is left penniless by his death, and with the consent of their mother, her older sister has agreed to sleep with a conservative politician who helps the family out with money. Eventually, Takuya's rejection of conventional morality will get him arrested: He hired a drunken boxer to beat up the man who had been engaged to Yoko's sister but jilted her after her father's suicide; instead the thug slashed the man's face with a razor. Yoko, the "nice girl," ends by being swept up in the crowds of students protesting the treaty. The problem with Youth in Fury is that it's overloaded with secondary characters, such as the rich young layabout who tries to rape Yoko, and Takuya's old girlfriend who resents his taking up with Yoko, as well as a group of politically engaged young idealists with whom Takuya first works but finally rejects. Shinoda has trouble sorting out and delineating these various characters, so that the film sometimes loses focus. But it's propelled by a good score by Toru Takemitsu -- like many films of its day, it relies more on jazz than on rock, which was just beginning to become the dominant musical idiom.

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Anunciado reparto adicional para la primera película de Haikara-san ga Tooru

La película se estrenará el 11 de noviembre

La web oficial de las próximas dos películas de Anime adaptación del Manga Haikara-san ga Tooru de Waki Yamato, ha revelado el viernes a miembros adicionales de su reparto. La primera película se estrenará el 11 de noviembre del 2017 y la segunda en algún momento del 2018.

CAST actualizado 

Saori Hayami como Benio

Mamoru Miyano como Shinobu

Takahiro Sakurai como Tousei

Kazuya Nakai como Onijima

Yuuki Kaji como Ranmaru 

Asami Seto como Tamaki 

STAFF

Director y guiones de la primera película: Kazuhiro Furuhashi

Director: Mitsuko Kase

Diseño de personajes Nishii Terumi

Diseño de fondos y director de arte: Kentarou Akiyama

Diseño de color: Kunio Tsujita

Fotografía: Takeo Ogiwara (Graphicnica)

Director de sonido: Kazuhiro Wakabashi

Música: Michiru Oshima

Estudio de animación: Nippon Animation

Saori Hayami se encargará de interpretar el tema musical de la película. Mariya Takeuchi escribe la letra de la canción. El single CD del tema se pondrá a la venta el 8 de noviembre.

La historia gira entorno a la poco femenina de gran espíritu Benio y su relación con un guapo soldado mitad Alemán llamado Shinobu. Benio es una chica muy extrovertida y atlética con ideas muy firmes acerca de la posibilidad de vivir su vida como ella quiere. La primera vez que conoce a Shinobu, ella le disgusta intensamente, a pesar de que él se las arregla para ayudarla a salir de una serie de contratiempos embarazosos. Ella por lo tanto se sorprende cuando se entera de que ha sido forzada a un matrimonio arreglado y ¡que su futuro marido no es otro que Shinobu!

El Manga original fue lanzado en la revista Shoujo Friend de Kodansha en 1975 y fue finalizado en 1977. El Manga ya ha sido adaptado en un Anime para televisión de 42 episodios estrenado en 1978, en una película live-action estrenada en 1987, y en una serie live-action para televisión estrenada en el 2002.