“あの男が現われるまで、私たちは家族だった”
郊外で小さな金属加工工場を営む鈴岡家は、夫・利雄、妻・章江、10歳の娘・蛍の三人家族。平穏な毎日を送るごく平凡な家族の前にある日、利雄の旧い知人で、最近まで服役していた八坂草太郎が現れる。利雄は章江に断りなくその場で八坂を雇い入れ、自宅の空き部屋を提供する。章江は突然の出来事に戸惑うが、礼儀正しく、蛍のオルガンの練習にも喜んで付き合う八坂に好意を抱くようになる。だが、ある時、八坂は一家に残酷な爪痕を残して姿を消す。
映画化された原作や関連書籍を読んで、映像との違いや独自の世界観を楽しみましょう。
FindKeyのエディトリアルチームがこの作品の深層や歴史を解説しています。
監督: 深田晃司
脚本: 深田晃司
音楽: 小野川浩幸
制作: Hiroshi Niimura / 大山義人 / 澤田正道
撮影監督: 根岸憲一
制作会社: Comme des Cinémas / Nagoya Broadcasting Network / Elephant House / L'Aide aux Cinémas du Monde / The Asahi Shimbun / Aeon Entertainment / moutain gate production / MAM FILM
This is the second film **Kôji Fukada** has made about a stranger insinuating himself into a seemingly calm family. The stranger first starts working for the family in their home business, then he moves in to their home, and then ties between the stranger and the family are revealed and exploited. **Kanji Furutachi** played the stranger in the first one, _Hospitalité_. He plays the family man in this one. I like this one better. Any time one of a character's introductory scenes consists of bad eating-acting you have the most simplistic of character definitions: the character is an idiot, with a bad moon rising. Both the family man and the stranger are introduced this way. They both turn out bad. No surprise. The first act of this film is full of bad indie nonsense, but after the lame setup material is out of the way, including Asano's snorefest of a background story speech that sets things in motion, the film finds it rhythm. And it's frighteningly good. And only then does it become unpredictable. There's a character swap about halfway through, and trying to figure out the relationship and motivations really put me on edge. The second half of the film is walking on razor blades. **Asano** has pretty much jumped the shark, imo. He's played this character a hundred times. I don't think he does anything special here, but he's not bad. **Kanji Furutachi** is a good creep. In the first act he tries to act like a creep and fails. In the second half he becomes a creep and is awesome. But the star of this film is **Mariko Tsutsui** as the wife. Her face is hard-coded for WTF sadness. She does the Japanese thing of remaining calm in the face of super-WTF-ness, wonderfully. There are several big moments, impact moments, in the film where if I were her my head would have exploded. I had no idea how she would react. She's fantastic. The opposite of acting. She looks like she's processing the information given to her for the first time--not like she's acting the part of processing information. Bravo! When you see what happens to the kid it's funny, sad, super weird and then some. It remains understated which doubles the funny, sad, super weird and then some of it. I have no idea what the ending says. It felt abstract and lame but didn't spoil things for me. I highly recommend the film to those who aren't bothered by bad eating-acting, or may not notice bad indie cliché scenes, and to those who are forgiving of bad script writing and acting during a film's setup phase.
