“Paradise Lost” Screening


The key to viewing Fukuma Kenji’s latest Paradise Lost is to think of the movie as not being strictly a “movie.” Like protest songs, spoken word poems, and even punk music, it is less concerned about formal structure and cinematic precepts than delivering the message. Paradise Lost has something to say about our times and who we are as people in the 21st century and thus Fukuma eschews what most viewers will be expecting to see when the lights go dark in the theater. In fact, it is best to think of Paradise Lost as a stage production put to film. And like any other play, actors are vehicles for the words; dialogue becomes lines of prose or expressions of abstract thoughts rather than things ordinary people would say. Taken in this context, Paradise Lost takes on the trappings of the story by Hara Tamiki and the poem by Kinoshita Yuji which first inspired Fukuma. This author is not familiar with the their works, but the resulting movie suggests they are intellectual examinations of existence.

At its heart Paradise Lost delves into the loss of the ideal and how living things react when that happens. Through the story of a wife who suddenly loses her husband, the viewer is shown a variety of people who feel they have lost something and are seeking to regain their own sense of place . There are students who are pursuing a better world, but argue the modern “paradise” is a trap inviting complacency due to prosperity; that the need to overcome despair drives the need to seek something better. A scene detailing small idols representing an ideal society where people are free to practice a trade of their choosing or even do nothing at all under the governance of a benevolent leader characterizes their standpoint. This “paradise” is viewed with wonder by the adult characters but is incomprehensible to a student, one of the central characters. The disparity brings into relief how youth still seek a place in a world not of their making, to “make their mark,” whereas adulthood finds allure in the “stability” of having already carved out their place and rejects “upheavals” which could lead to displacement.

This is where the story of the wife, played by Wada Misa of Siblings of the Cape plays a central role in humanizing the rather dense, intellectual exercise. The unexpected loss of her husband is a very personal deprivation of “paradise” or an ideal life. Her journey from grieving to finding a new path without her husband is immediately relatable. Yet, also tangentially bounds the aforementioned need to overcome despair in order to move forward. Though at a loss as to what to do at the outset, she never loses hope thanks to supportive friends and a budding new relationship. She isn’t seeking paradise, nor is she trying to change the world. She just desires to rediscover her place in life. As she says during one of the movie’s musical interludes: “It isn’t paradise here, but people aren’t discouraged to live.”

Paradise-Lost-Screening-Eto Shuhei
Eto Shuhei as Yamaguchi Shinya / ©tough mama

Two important characters serve as the movie’s more esoteric notions. Shinya, the deceased husband played by Eto Shuhei, wanders the world both as a physically seen presence and as a “felt” presence when characters break the fourth wall by looking into and speaking to the camera. In a sense, Shinya also lost his ideal–to be alive–and is seeking where to go. He made searching for the truth an essential element of his life, only to die before finding it. He comes to realize a different truth however: “no one or thing can judge anyone.” The afterlife, it seems, is not so much about heaven or hell rather becoming more than you once were. Contrasting Shinya is the character of Mori Hirakazu. An enigmatic man one could easily characterize as “homeless” in the real world, but is officially designated a “wanderer” in Fukuma’s setting. Hirakazu seems like Virgil from Dante’s ‘Divine Comedy’ (if you would allow the mixed metaphor), aware of many things as he is knowledgeable about them, yet unable to proceed onto Paradiso. He states at one point that a simple joy is peace, but such peace makes him afraid and so he runs away. This could be the reason why, as the movie draws to a close and the characters respectively have begun to move on, Hirakazu’s denouement is the most fascinating of all. But Hirakazu’s waywardness may be the closest to most people’s own dilemmas; despondent and filled with trepidation like Adam and Eve at the time of the Expulsion from the Garden of Eden. And yet that is also the moment the angel Michael tells Adam “he may find a paradise within…happier far.” From despair, comes hope…with effort.

Paradise Lost is a movie recapturing an era when artistic works were created to instigate discourse that would effect cultural change and spark socio-political action. Though this may superficially paint it as “outdated,” in a contemporary world increasingly appearing not only rudderless, but leaderless amid mass or mob partisanship, Paradise Lost rekindles the need for independent thought and intellectual discourse possible with independent cinema.

The Screening

As with most independent releases, Paradise Lost was screened at the Film School of Tokyo screening room located within the Eurospace theater in Shibuya. Director Fukuma Kenji was on hand with his wife and producer Keiko. Before the lights went out Ms. Fukuma came to my seat and greeted me personally, a lovely touch considering we had never met nor spoken with one another before. Small, independent productions like these are often self-distributed as is the case with Paradise Lost, therefore I truly felt how much she values each and every person who comes to see the movie, even at a press screening. She kindly provided the materials and photographs I needed to write this article.

Paradise Lost opens on March 20th at Uplink Kichijoji. Please refer to their homepage for showtimes and tickets: https://joji.uplink.co.jp

If you’re interested in screening the movie at your event, please contact me at konnichiwa[at]indie-visual.net and I can help put you in touch with the print source.

Notes on the Margin

– Fukuma Kenji was going to shoot a story in Hokkaido titled Tenshi no Ikiru Basho (lit. where angels live) in February of 2018 when it was abruptly cancelled.
– He completed the plot for Paradise Lost in June and began meeting with potential actors.
– While scouting locations in their local area the Fukumas were surprised to discover places they hadn’t known. They deliberated how to make use of them in the movie.
Filming began on August 23rd and finished on September 1st; a 10 day shoot.
– The final scene in the movie where a party at the art school is being held was the last scene of principle photography.

Dear Basketball

Off Topic
Dear Basketball Main

I am an Angelino. I am a Lakers fan (note that’s in present-tense). I have had the fortune to witness both the Magic-Kareem dynasty and the Kobe-Shaq dynasty before moving to Japan. Kobe Bryant’s sudden passing has sealed his status as a legend of the sport. But let’s not forget the young life which was also lost and did not have the opportunity to make her mark on the world.

Condolences to the Bryant family and the families of all those who were lost in this accident.

Here is Kobe Bryant’s Academy Award-winning animated short Dear Basketball, a film written and narrated by Bryan; directed and animated by Glen Keane, with music by John Williams.

UPDATE: The full short movie has apparently been taken offline by the filmmakers for reasons which the L.A. Times reports are still unknown. Sorry if you did not get a chance to see it while it was still available online. I will not link to illegal uploads.

Coming Back Sunny trailer

Filmmakers / Movies
Coming Back Sunny Feature Image

I’m a bit late on this, but I discovered the trailer for Yuasa Noriko’s latest short Coming Back Sunny after checking my Vimeo feed for the first time in many months. Yuasa impressed me with her short Ordinary Everyday (read my thoughts here: https://read.indie-visual.net/indie-forum-2018/#everyday) and I have been looking forward to her next movie. She often works in television and her late-night series ‘Genkai Danchi’ did not disappoint in showcasing her storytelling abilities. There’s a fairly high concept visual language she hopes to achieve with Coming Back Sunny but she seems confident both in the narrative and her directorial choices.

The movie tells the story of a color blind high school girl who begins to experience for the first time brief phenomena of red which slowly alters the color of her own life. As with Ordinary Everyday, Coming Back Sunny is part of a short movie triptych. 

Yuasa and the producers are looking to bring the movie abroad so if you’re interested, contact Yuasa through her Vimeo.

Charlize Theron and Park Chan-wook

Movies / Off Topic
Charlize Theron Video Image

During a round-table of Hollywood producers Charlize Theron reveals she was given the rights by Park Chan-wook himself to make a western adaptation of Sympathy for Lady Vengeance. She’s been trying to make it as a producer (and perhaps as an actress) since 2005, but the pieces haven’t fallen into place. It is still on her plate and I am certainly excited to see what she could do with it.

The rest of what she reveals about Bombshell on this clip is also fascinating.

Content Creation Conundrum

Indievisual Mag / Solutions
Content Creation Feature Image

Generating content is a challenge to all those who operate any kind of media channel, be it a video channel, a publication–digital or print, or even a social media site. Providing one’s audience with compelling and enjoyable content which encourages them to return for more or continue to engage with one’s site puts considerable amount of pressure on the site owner/creative staff. A friend once told me a story about someone they knew who was wrestling with doubts about the type of content they should be providing their audience. My friend, rightly, told them to just keep generating content they are enjoying. To begin creating content for the specific purpose of satisfying their visitors only will make the operation of the site feel like “work”. Ultimately the content itself will suffer as a result. I, personally, have not encountered this conundrum as of yet. My audience is rather small yet, and the nature of Indievisual’s mission means the articles I write are aimed for whomever willingly follows the magazine or stumbles upon one of the articles through a search on the web or my social media activities. I do not have a large, loyal following hungrily awaiting the next post or article. However, as Indievisual’s “editor-in-chief” and principle “writer”, I still do genuinely feel the responsibility to write quality articles in a timely manner. If you’ve read my previous “year-end reviews” (here and here), you’ll note the one issue with which I continue to struggle is the number of articles publish. As a “one-man” operation, sometimes there is not sufficient time to write articles or conduct interviews on any kind of planned timeline. I do so whenever time allows. Regardless, I earnestly desire to publish more often.

As a solution to the problem, I have sought the aid of contributors; or at the least requested people to write about themselves or their experiences as a means to source additional content as a supplement to articles I research and write myself. Unfortunately, the people to whom I have reached out have not been able to deliver. One individual ultimately admitted losing confidence in and thematic coherency to what they were attempting to write after months of waiting for them to complete the article. Rather than give up, I have instead encouraged this person to continue gathering their thoughts and when inspiration strikes to write their article. When this will be, I do not know. Another individual I asked to profile–rather than interview–initially welcomed the proposal enthusiastically, so I sent them a questionnaire which I use as a resource for the quotes and overall narrative of the article such as in the case of Hasegawa Toshiyuki and Andrew Kirkham. However, the person has yet to return the questionnaire even after contacting them a few times to check on their progress since first reaching out to them in November of 2018. As recently as July, I had been asked to wait “a little longer”. This month will mark a year of waiting. Yet another individual expressed their appreciation of a proposal to feature entries from their blog in a series intended to spotlight their particular perspective on the industry, but I have never received an official approval nor the English transcript of their text. At this point in time I do not know if I ever will.

I recognize that in these cases the individuals are also busy with their own lives and careers. I can certainly sympathize with them. The irony is these attempts at seeking third-party sources for articles have involved as much time, if not longer, as it would have taken had I tried to write them myself; the end result is still a shortage of published articles. That being the case then, I have decided to own the problem. The aforementioned content may still appear one day, but for the time being I will focus on interviews, event coverage, and essays which I can conceive and complete on my own in addition to Caught My Eye write-ups on movies I find and research myself. Though this will mean fewer articles will be published at infrequent times, at the very least I will not be at the mercy of others’ schedules or creative blocks or simple forgetfulness. I had hoped to serve my readership better by publishing more frequently and sought the aid of others in an attempt to generate more content, but I fell into the trap of thinking “more” equated to “better”; a “better” site, a “better” experience. My friend referenced at the beginning of this post was largely speaking about maintaining a consistent quality of the content regardless of how long it may take to create with the caveat I always communicate with my audience (as in these blog posts). In short, adhere to the old adage of “quality over quantity”.

I will continue to await responses from the previously mentioned cases, and I certainly have a variety of article concepts for contributors to write, but I believe my motivation for engaging others to write for me was born out of a fear the site was not being generously updated. That is not why I should have been seeking contributed articles. My aim is to one day deliver articles on a regular basis, but I may not always be able to do so. Having made an attempt at remedying this without much change in the number of articles published, I think I should instead continue to focus on maintaining my own standards for interviews, features, and write-ups with respect to staying faithful to Indievisual’s mission to “spotlight unsung figures in Japan’s independent film scene.”