At the heart of its believability is the naturally endearing performance of Kamiki Ryunosuke as Koshirо̄, a crucial character as he has to be likeable and naive simultaneously, uniting mistrusting elements of his family, and eventually emerge as a leader. The supporting leads perform well as an ensemble, with the right blend of comic charm and drama. Hana Sugisaki, as Sayo, the feisty girl neighbour of Koshirо̄, provides the right chemistry as the love interest and sidekick.
The period piece storyline flows with enough highs and lows to keep the contemporary audience attuned. It is not what it seems when one moves into a family of power and supposed wealth. Life does not necessarily become better, and stress-wise, it can even get worse. Koshirо̄’s father, Daimyo Ikkosai, has never been really forthright on his intentions with his son. And yet, familial support can be found in unexpected places. Koshirо̄’s good relationship with his brothers, for instance, has been pivotal to supporting his plans, and their moments together are also quite moving scenes in the movie.
In essence, the film is a Japanese fable of determination and entrepreneurship amidst the corruption and politics of the powers that be. What is explored in this Japanese tale of group unity and focus is the underlying Japanese psyche of individual perseverance, hard work and ingenuity. And these noteworthy national attributes are valuable trait qualities for the rest of the world as well.
It was a great opening night film for this year’s Japanese Film Festival at the Palace Norton cinemas.
The Japanese Film Festival hosted a nice reception for the flm.
Every once in a while, the cinematic stars will align and produce a perfect combination of drama, romance, and comedy in a film. A movie that will take the viewers through an emotional journey that will enthral them even way after that movie experience. In HELLO, LOVE, GOODBYE, it has done just that.
With Oscar night nearly here, a few races still have the delicious instability that makes awards season feel like a sport rather than scripture. Best Actor has been framed as a contest between Timothée Chalamet for Marty Supreme and Michael B. Jordan for Sinners, while the supporting categories still carry their own charge of unpredictable uncertainty, with Amy Madigan’s wonderfully unnerving work in Weapons and Sean Penn’s showing in One Battle After Another remaining in the conversation. But Best Actress feels different. That race, barring an earthquake, belongs to Jessie Buckley for Hamnet. After sweeping the Golden Globes, Critics’ Choice, BAFTAs, and SAG/Actor Awards, Buckley has moved beyond momentum into inevitability.
