#tadashi okuno

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Like Someone in Love (2012)

Dir. Abbas Kiarostami

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Like someone in love (2012), Abbas Kiarostami

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"When you know you may be lied to, it's best not to ask questions."

Like Someone in Love (2012) -- Abbas Kiarostami

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Like Someone in Love (Japanese: ライク・サムワン・イン・ラブ Raiku samuwan in rabu) is a French-Japanese drama film written and directed by Iranian director Abbas Kiarostami, starring Rin Takanashi, Tadashi Okuno and Ryō Kase.

A young sociology student and part-time escort, Akiko, develops a relationship with a retired professor over a two-day period in Tokyo. She knows nothing about him, he thinks he knows her. He welcomes her into his home, she offers him her body. But the web that is woven between them in the space of twenty four hours bears no relation to the circumstances of their encounter.

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Like Someone in Love (2012) Abbas Kiarostami

July 28th 2019

[whileiamdying]

MOVIES: Like Someone in Love

In the films of Abbas Kiarostami, every detail counts.

BY DANA STEVENS FEB 15, 2013 ⦿ 5:36 PM

Ryo Kase in Like Someone in Love Courtesy of MK2 S.A./IFC Films

The Iranian filmmaker Abbas Kiarostami makes elegant, formally stunning movies in which every detail counts. The placement of the camera, the composition and duration of each shot, the quality of background noise, the apparently offhanded naturalistic dialogue, all gradually converge into necessary parts of a whole. A Kiarostami film demands and rewards a state of quiet, alert attention.

With his last two films, Kiarostami has begun working outside Iran for the first time since his 2001 documentary ABC Africa, in part because of the theocratic government’s repressive treatment of filmmakers. Kiarostami’s films have been banned there for over a decade, and many of his colleagues have been imprisoned, placed under house arrest, or forbidden to make movies (hence the sly title of This Is Not a Film, the 2011 semi-documentary that director Jafar Panahi smuggled out of the country on a USB drive hidden in a cake). Kiarostami’s Certified Copy (2010) was an enigmatic parable about love and identity shot in Tuscany. The film won Juliette Binoche a Best Actress award at Cannes and exposed the director to his widest Western audience yet.

These recent Kiarostami converts may be confused by Like Someone in Love, which develops some of the same themes as Certified Copy in a creepier minor key. Both films involve mistaken or assumed identities, extended road trips (a favorite Kiarostami theme), and chance encounters that change everything. But where Certified Copy gradually draws the viewer into its pleasurably dizzying vortex, Like Someone in Love, set in the more sterile environs of Tokyo, keeps us always at arm’s length.

Like Someone in Love has a story so simple it seems diaphanous: A Tokyo call girl spends the night with an elderly scholar, who then spends the next day driving her around Tokyo with her unstable boyfriend. But when the film’s slender 107-minute running time is over, it’s gone places you never would have imagined, both narratively and thematically. In the virtuosic stationary long take that opens the movie, we meet—at first only through the sound of her off-screen voice—Akiko (Rin Takanishi), a young woman who, we’ll later gather, is a college student supplementing her income with a secret job as a high-end prostitute.

Akiko’s boss is pressuring her to take on an important client; reluctantly, she agrees to visit the man, first turning off her phone to avoid the entreaties of both her needy boyfriend and her visiting grandmother (who, we learn in a plaintive series of voicemails, appears to have been waiting all day to be picked up at a Tokyo train station).

Once Akiko arrives at the client’s house, their encounter quickly becomes something different than either expected. The man, Takashi (Tadashi Okuno) is an aged scholar and translator who seems less interested in getting busy than in spinning some Ella Fitzgerald (who sings the ravishing song that gives the movie its title) and discussing the history of Japanese painting. After a chaste, chatty night (during which Akiko disappoints her host primarily by falling asleep before she can eat the special meal he’s prepared), Takashi insists on driving Akiko to her morning class at the university. There, he’s mistaken for her visiting grandfather by her boyfriend Noriaki (Ryo Kase), a jealous, emotionally abusive type who watches her every move like a hawk. Neither the young girl nor the old man are prepared to disabuse the potentially violent Noriaki of this notion, so the three of them spend an awkward few hours together, with Noriaki anxiously deferential toward the fake grandfather of the woman he hopes to marry and Akiko paralyzed with terror that her secret life will be discovered.

As for the old man, played by Okuno as a benevolent but opaque figure, we’re never quite sure what his investment is in these young people’s troubles. Does he play along with the grandfather role out of pity for the young woman’s plight, as part of a plan to help her extricate herself from what’s clearly a toxic relationship, or simply for the voyeuristic novelty of becoming someone different for a day? The last half of the movie doesn’t quite realize the rich potential offered by the first—unlike Certified Copy, this movie doesn’t open out, it closes in. The ending strikes a deliberately harsh, arrhythmic note that may puzzle and annoy many viewers. Like Someone in Love doesn’t so much end as screech to a stop, with a brusqueness that will elicit a “wait, what?” even from people (like me) who were fully on board up till then.

But if you’re a cinephile, Like Someone in Love is worth seeing for the filmmaking prowess alone. Kiarostami’s camera (wielded here by the cinematographer Katsumi Yanagijima) is aware of what it’s doing at every second: who’s in the frame and who’s out, what visual information is being conveyed or withheld, where every shadow and reflection will fall. Reflections—in windows, in mirrors, in the screens of turned-off TVs—are one of Kiarostami’s longtime specialties. He uses them both as compositional elements and as narrative devices—his reflections don’t just sit there and look pretty, they do things in the story. As we watch Akiko’s beautiful, impassive face through a car window, we intuit her inner state mainly from the reflections that slide past her on the glass: the Tokyo street signs, the crowded train stations, the floating clouds. Like Someone in Love is a movie that never quite lets you through to the other side of the glass, but it’s dazzling to watch whatever drifts by on the surface.

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Yu Yu Hakusho: Poltergeist Report released on April 9, 1994.

Studio(s): Studio Pierrot and Movic

Director: Masakatsu Iijima

Producers: Haruo Sai, Ken Hagino, and Naoji Hōnokidani

Score: Yusuke Honma

I'll also list all of the artists involved in making the background art and the key animators! This movie looks incredible and directors tend to get a much bigger cut of the credit than they deserve.

Background Art: Emi Kitahara, Emiko Koizumi, Hideaki Kudo, Hirofumi Shiraishi, Hisae Saito, Hitoshi Nagasaki, Ikuko Ōoka, Kaoru Inoda, Kazuo Ebisawa, Kumiko Nagashima, Masumi Nishikawa, Mio Isshiki, Ryō Kōno, Sadayuki Arai, Sawako Takagi, Shigenori Takada, Shinichi Uehara, Shinobu Takahashi, Shuichi Hirose, Toshiharu Mizutani, Toshiyuki Yoshimura, Yasunari Usuda, Youngil Park, Yuka Kawashima, Yuka Okamoto, Yūko Kobayashi

Key Animation: Akihide Saitō, Chihiro Hayashi, Fuminori Kizaki, Hajime Kamegaki, Hideyuki Motohashi, Hikaru Takanashi, Hiroharu Nishida, Hiromi Niioka, Hirotaka Kinoshita, Hiroyuki Kanbe, Hiroyuki Okuno, Hisahito Natsume, Isao Sugimoto, Junichi Kigawa, Junko Abe, Kari Higuchi , Katsuichi Nakayama, Kazumi Minahiro, Kazuya Kuroda, Kazuyuki Ikai, Kazuyuki Kobayashi, Keiko Shimizu, Kenji Yamazaki, Kunihiko Ito, Mamoru Hosoda, Mamoru Kurosawa, Masahito Yamashita, Masaki Hosoyama, Masayuki Fujita, Mayumi Hirota, Munenori Nawa, Naoyuki Owada, Osamu Nabeshima, Satoru Iriyoshi, Satoshi Fukushima, Shinji Seya, Shinsaku Kōzuma, Shuji Kawakami, Shunji Suzuki, Susumu Yamaguchi, Tadakatsu Yoshida, Tadashi Abiru, Takashi Yamazaki, Takayuki Gorai, Takenori Mihara, Takuya Satō, Toyoaki Shiomi, Yasunari Nitta, Yoshiaki Tsubata, Yoshinori Kanada, Yoshiyuki Kishi, Yuichi Endo, Yuko Kusumoto

[lostinmac]

Remembering Every Night (2022)

Dir. Yui Kiyohara

[phimnhanhtv89]

Like Someone In Love

When Akiko (Rin Takanashi), a lovely Tokyo student who moonlights as a call girl, is dispatched to a new client in the suburbs, she is surprised to find the shy and elderly Takashi (81-year-old stage actor Tadashi Okuno), a committed academic constantly distracted by work-related phone calls. The lonely widower seems far more interested in playing house than having sex, however, and the young woman soon falls asleep. The next day, when the two encounter Akiko’s volatile boyfriend Noriaki (Ryo Kase), Takashi plays into Noriaki’s assumption that he is actually Akiko’s grandfather. As the three settle into their new roles, Takashi finds himself becoming the protector that Akiko so desperately needs. (c) Sundance Selects

The post Like Someone In Love appeared first on Phimnhanhtv - Xem phim nhanh tv online trực tuyến vietsub.

source https://phimnhanhtv88.com/duong-nhu-da-yeu-like-someone-in-love/

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Like Someone In Love

When Akiko (Rin Takanashi), a lovely Tokyo student who moonlights as a call girl, is dispatched to a new client in the suburbs, she is surprised to find the shy and elderly Takashi (81-year-old stage actor Tadashi Okuno), a committed academic constantly distracted by work-related phone calls. The lonely widower seems far more interested in playing house than having sex, however, and the young woman soon falls asleep. The next day, when the two encounter Akiko’s volatile boyfriend Noriaki (Ryo Kase), Takashi plays into Noriaki’s assumption that he is actually Akiko’s grandfather. As the three settle into their new roles, Takashi finds himself becoming the protector that Akiko so desperately needs. (c) Sundance Selects

The post Like Someone In Love appeared first on PhimHay89 - Xem phim hay online - Phim mới trực tuyến - phim nhanh vietsub.

source https://xemphimhay88.com/duong-nhu-da-yeu-like-someone-in-love/

[whileiamdying]

Like Someone in Love Teases the Realm of the Senses

by SCOTT FOUNDAS

FEBRUARY 13, 2013

Like the yearning Jimmy Van Huesen/Johnny Burke torch song that lends it its title, Abbas Kiarostami’s Like Someone in Love is a sly, teasing riff on the heart’s irrational stirrings. But the film’s true spirit is even better encapsulated by Training a Parrot, an early-20th-century painting by the Japanese artist Chiyoji Yazaki that hangs on the living-room wall in the home of Takashi (Tadashi Okuno), a retired professor who lives a quiet existence of books and seemingly little human contact.

Early in the film, Takashi’s solitary routine is interrupted by the arrival of Akiko (Rin Takanashi), a Tokyo undergraduate who moonlights as a high-end call girl. In the painting, a young woman in a kimono is seen teaching an attentive parrot to speak—or perhaps, as Akiko observes, it is the bird who is teaching the woman. Then, in a single elegant shot, Kiarostami frames Akiko in the foreground with the painting directly behind, her pose and manner uncannily duplicating that of the woman on the canvas, as if this century-old work were in fact her own portrait. Which, in Kiarostami’s world, could well be the case.

Like Someone in Love is the second fiction film Kiarostami has directed outside of his native Iran, and like his first, the Tuscan road movie Certified Copy, it dwells in the Pirandellian space between art and life, reality and role-playing, deploying its elegant narrative doublings and self-reflections with the deceptive ease of Ella Fitzgerald crooning the title tune. In Certified, Kiarostami gave us another couple (played by Juliette Binoche and the British opera star William Shimell) who, at various points in the film, seemed to be two strangers meeting for the first time, spouses on the verge of a breakup, and actors pantomiming the various stages in the evolution of a relationship.

Similarly, nothing in Like Someone in Love is quite as it first appears. Twice, Takashi is mistaken for Akiko’s grandfather, first by her jealous fiancé, Noriaki (Ryo Kase), and later by a nosy neighbor who, but for a few twists of fate, might have ended up as Takashi’s wife. That neighbor even comments on Akiko’s resemblance to her “mother”—Takashi’s daughter—who, like Takashi’s wife, is conspicuous by her absence. Also missing is Akiko’s own grandmother, who has journeyed to Tokyo for the day in the hopes of seeing her, but whom Akiko avoids, partly out of shame over her unusual work-study job.

And so, without ever laying all of its cards on the table, Like Someone in Love takes on the feeling of a fated encounter between two people who evoke in each other the ghosts of their respective pasts and the possibility of new beginnings. (In addition to Kiarostami’s own work, there are strong echoes of Krzysztof Kieslowski’s masterful Red, in which the meeting of an elderly judge and a young fashion model carried with it the suggestion of an eternal return.) Over the course of the film’s one evening and the following day, they cycle through various guises, each filling some mysterious void in the other, before the outside world intrudes, and the spell is broken. It may be a story with special resonance for the disarming Okuno, a veteran stage and movie bit player who, now in his early eighties, is playing his first leading role in a film. He seems particularly attuned to Kiarostami’s suggestion that there is no age limit on seduction.

“I make one film as a filmmaker, but the audience, based on that film, makes 100 movies in their minds,” Kiarostami once told me in an interview.

“This is what I strive for,” he continued. “Sometimes, when my audiences tell me about the mental movies they have made based on my movie, I am surprised, and I become the audience for their movies as they are describing them to me.” Like Someone in Love is a film made wholly in this spirit. It adheres to an emotional rather than narrative logic—and if few would rush to compare Kiarostami to more overtly “dreamlike” directors such as David Lynch or the late Raul Ruiz, he is every bit their equal in his fluid, freely associative sense of cinema.

You emerge from Like Someone in Love elated and slightly dazed, not least because of Kiarostami’s decision to end the film with the most abrupt denouement since the final episode of The Sopranos. (One working title for the movie was none other than The End.) But the movie’s sense of immutable desire resonates well after the lights have come up, as we continue to wonder whether the woman has been teaching the parrot or vice-versa, and if we have been witness to a love story or merely something like it.

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Like Someone in Love Abbas Kiarostami, 2012

Rizzo Bar 42-24 Chigasakichuo Tsuzuki-Ku, Yokohama 224-0032, Kanagawa Prefecture, Japan See in map

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