Tetsuya Mariko sent ripples across the international festival circuit back in 2016, when cult sensation “Destruction Babies” showed a unique view on sociopathic violence through the “shenanigans” of Yuya Yagira. This time, he seems to go a step even further with his third feature, as the barbarity is transferred to domestic settings, in an adaptation of a TV-drama he also directed, and itself an adaptation of the homonymous manga by Hideki Arai.
Miyamoto is screening at New York Asian Film Festival
The narrative unfolds in different timelines and revolves around a rather extreme love story, between Hiroshi Miyamoto and Misako Koda. As the film begins, a beat-up but happy Miyamoto tries to make his boss forgive him for his appearance and to allow him to keep his job as a salesman. He succeeds, and also receives some weird (maybe ironic?) advice from his direct higher up, who suggests to make rivals of everyone around him,...
Miyamoto is screening at New York Asian Film Festival
The narrative unfolds in different timelines and revolves around a rather extreme love story, between Hiroshi Miyamoto and Misako Koda. As the film begins, a beat-up but happy Miyamoto tries to make his boss forgive him for his appearance and to allow him to keep his job as a salesman. He succeeds, and also receives some weird (maybe ironic?) advice from his direct higher up, who suggests to make rivals of everyone around him,...
- 8/31/2020
- by Panos Kotzathanasis
- AsianMoviePulse
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