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Daniel Isn’t Real (2019) – Movie Trailer

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Postby Fenrijar В» 09.03.2020

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The disaster cost the lives of passengers, most notably around students from the same school on a trip.

Ju Hyun-sook interviewed five Koreans with diverse backgrounds that were only indirectly involved with the disaster. There is a teacher, a student, a coffee shop owner, a fisherman and a human rights worker. Of course, they talk about how they experienced the disaster, but most of their stories focus on what happened afterwards.

The combined testimonies sketch an image of effects the accident had on in Korean society and the impact that still lingers on five years later. The title of this documentary refers to the Yellow Ribbon movement and the buildup of the stories reflects the meaning this ribbon had in Korean society at different points in time.

It was launched on the day of the disaster as a symbol of hope for the safe return of the passengers. When it became clear that there were no more survivors, it turned into a symbol of mourning and remembrance and it was omnipresent during commemorative services and candlelight vigils.

Sparked by suspicions that the tragedy could have been avoided had the government been less irresponsible and corrupt, these gatherings turned into protests against the South Korean government. As a result, the yellow ribbon became a political symbol for activism and democratization. The testimonies of the five interviewees form the core of the film, but it offers more than just talking heads.

Ju Hyun-sook combines the testimonies with footage of the commemorative services and protests. To sketch the context of the disaster, she mostly uses radio news bulletins. These more informative scenes together with more metaphoric shots conjure up the feelings and emotions of those involved without showing shocking images. One of the moving examples of the metaphors used is that of a schoolyard with students playing and then, one by one, they move off screen until the viewer is left with the lingering image of an empty space.

Another example is a scene showing an empty passenger terminal for the ferry to Jeju. Also, we see footage of the salvaging and dismantling of the Sewol ferry. These images are shown without dialogue or explanation and they offer room for contemplation. It is implied, but not stated explicitly, that at least some of these are shot by a sixth contributor, an older man seen filming throughout the documentary.

Next to these, Ju Hyun-sook uses informative text slides that offer a psychological approach to trauma and recovery and, on top of that, add some structure to the film. However, these slides imply that we would need a scientific and theoretical explanation to understand the impact of the events on those involved.

And, as such, this undermines the feelings evoked by the testimonies and the visual impressions. As such, it contributes to the healing process of the South Korean Nation after the Sewol ferry disaster and at the same time, offers a lasting memorial for those that died. Harbouring inside this theatre of ruin — of crumbling memory, of withering age — reside the silent voices of a generation, of an industry teetering on the brink of abandonment.

Returning for the first time in seven years, the aged workers enter the Lien Fu garment factory for a staged session of work, as if returning to inhabit their mortal vessels once again for one last time, for one last farewell. In its deafening silence, the anxiety of an uncertain future screams in futile agony; for among the towering pyres of chairs and tables awaiting engulfment are the workers who once spent their prime hours of the day within these walls at their sewing machines.

Laid off without severance or a pension plan, they reappear as a ghostly presence, tending to their instruments of work once again, only this time their weathered faces pained with forlorn expressions; forlorn exhaustion replaces the exuberance of employment as these women slump over their stations, their in situ bodies feel almost like tombstones.

Haunting this dilapidated building are two women holding out a jacket, consistently looking one way to a forgotten past and the other to a grim present; their stone-faced visage tell more than words ever could. We as an audience however, cannot help but remain transfixed as the darkness of this void spreads, as the camera slowly zooms into the pitch-black of the jacket, of an ill-lit hallway; even the rain outside helps disconnect us from the outside world. Theirs is a global plight, one which labourers the world over will seldom struggle to relate to.

It is uneasy yet dreamlike, poetic but incredibly real. The cinematic centrepiece of one worker struggling to rethread her needle serves as a painful reminder of this too, perhaps more so; it strikes with fervent poignancy and, much like the performance as a whole, is captured with inescapable delicacy. Bullying has been a real and present danger in society and particularly in schooling life all over the world for a long, long time now. The advent of technological advances and the internet has brought this vice into the modern day, with the internet and social media often being tools to spread rumours about and malign someone truthfully or incorrectly.

The speed with which such things spread and trend is often frightening. He likes having fun in school with the few friends he has, participates in dance performances at school, does odd jobs around the village to earn a few pesos and helps his mum take care of his younger siblings when he can. To retrieve his bag, John Denver follows him up to the rooftop and snatching his bag from the classmate, he proceeds to beat the boy and a fight ensues.

Little does he know that this tiny incident of tomfoolery is about to make his life a living hell, for while the fight went on, another classmate managed to take a video of it and it was swiftly uploaded onto Facebook, an act which soon starts a chain of events that go from bad to worse for the young boy and his hard-working family.

In this digital age ruled by social media, even the tiniest of actions, words or mistakes has the ability to come back and haunt you in ways you can never image, and the film manages to portray that accurately. The toxicity of altered, one-sided or downright fake news is aptly shown. The film also stresses on the importance of an open dialogue, not just between a parent and a child, but also between a student and teacher as well as one between a parent and an educational institution.

Educational institutions do have steps to curb bullying and such incidences, but more often than not, there are frustratingly inadequate or inept, as John Denver ultimately finds out.

Where the film succeeds most is in putting the audience in the shoes of someone who is being bullied, both physically as well as over the internet and a large part of this success is down to its young lead actor Jansen Magpusao.

The confused face of the little boy as he goes from one situation to another, dumbstruck and unable to comprehend the gravity of the situation, does not fail to garner sympathy from the audience. The tension in the interrogation scene between him and the police officer is nearly suffocating. Meryll Soriano as his hard-working mother, the one constant rock John Denver has on his side, is wonderful, her angst and frustration at the inadequacy of the school and law authorities in curbing the systemic bullying of her boy end up being extremely heart-breaking to watch.

The film also gives a very interesting look into life in rural Philippines, with its interesting mix of traditions and superstitions. The comparison of the witch-hunt the netizens and authorities indulge in with a spirit-expelling ritual a local shaman is shown doing is quite poignant. Benjo Ferrer III edits the film to keep a steady, forward momentum, making it progress along briskly.

As the film builds up to the fatalist climax, the film ends up being a wake-up call for students, parents and authorities alike, in addition to being a call-to-arms to get a system in place against such incidences happening or a point of contact where students facing such issues can open up and express themselves.

Probably the most visited genre in the Japanese indie movie industry is the family drama, with a plethora of productions coming out from the country every year, sharing many similarities, particularly regarding the pace. In that regard, a large part of reviewing films in this category is aimed at finding if there is any element that will allow them to stand out. Let us see if Aya Miyazaki succeeded. The film revolves around Sakura Ueno, a young woman who lives in a suburban area with her mother and has just quit her job.

Having almost no obligations and lots of free time, she agrees to work temporarily in an unlicensed nursery school, despite the fact that she has never worked with kids before. However, she finds herself smitten by them and particularly from Ai, a girl whose mother has left her and her father, Shindo, with the latter often coming up late to pick her up due to his work. Sakura feels a connection to the duo, for both the fact that they are a single-parent family and because she enjoys seeing Ai so close to her father, in contrast to her own life.

As time passes and she comes even closer to them, something begins to change in her. Aya Miyazaki directs a film that seems to comment on the dysfunctions of the contemporary Japanese families, and their consequences on the younger generations. Aya misses her father and this seems to be the main element of her character. Her refusal to grow up, being a bit spoiled by her mother, the connection she feels with Ai and Shindo, all seem to derive from that, as much as a depression that seems to dominate her everyday life.

The somewhat detached approach Miyazaki has taken, however, dulls these comments, to the point that by the end, I felt confused regarding what the film is about or more precisely, what the exact comment is, with the finale heightening this sense even more.

The editing follows the rules of the Japanese indie, with the pace being slow, allowing Miyazaki to explore her characters with patience. In the end, though, I felt that something was missing, which probably has to do with the writing than anything else, although this could also be attributed to the just 66 minutes of its duration.

Definitely deserves a watch though and personally, I would really like to see both Miyazaki and Fukuda exploring the issues presented here in a full feature.

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When freshmen Yi-shaun moves into her college dorm, her new roommates prove a challenge for the young bookworm: Jessica, who lives a sexually adventurous and liberated life and Li-Chi, a religion student trying to use black magic to find her true love. Perhaps, the most endearing aspect of the production comes from the actors, who each play wonderfully into the stereotypes they were given. The robotic and cold logic of Yi-shaun is particularly humorous when matched up against the easy going and sexually charged Jessica.

The basis of their interactions creates the most comedic flair and each girl embodies her role with great comedic timing. The scripting and direction of best utilizing the dialogue exist as another notable strength.

The wit is sharp and fast in delivery and the cast handles each line with great comedic timing to help punctuate the right moments. Overall, there are a lot of great gags and dialogue that becomes memorable, mostly through delivery.

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