jueves, 19 de enero de 2012

Kotoko, defina cine emocional

Una de las asignaturas pendientes de este blog es el cine japonés. Lo sabemos, lo sabemos. Y lo intentamos, lo intentamos, de veras que sí. Pero es que madre mía, ay que tener el estómago preparado para algunos argumentos.

Kotoko is a woman with some mental issues. She often sees double, not a mirrored image or blurred vision, but rather two versions of the same person; one of them is real, the other is a menacing doppelganger. On the streets in her neighborhood it is often difficult to tell the difference until the evil hallucination attacks her. This causes enough stress that Kotoko has harboured a longstanding wrist-cutting habit. It is not so much that she is suicidal - she completely wants to live - merely that she compulsively tests her bodies ability to take some punishment. This would make a compelling story in its own right, but that Kotoko has a young child, Daijiro, in her care significantly ups the stakes. The protection of her toddler is paramount, and often causes Kotoko and Daijiro to have to move around a lot when she attacks the wrong double (stabbing with a fork seems to be the preferred method) in defense of her baby. Like many parents with young children, Kotoko often takes her eyes of the little boy to get things done around the apartment. In her frantic, often hallucinatory panic to find Daijiro, Tsukamoto employs his signature manic camera style, a shaky forward rush, not really focused on anything but moving at significant speed, to the best effect in his entire filmography. As a personal litmus, I have had the exact same experience as a parent on more than one occasion, and this is what it feels like.

Fuente: Twitch

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