🔴 Kamera Wo Tomeruna! (2017) Directed By Shinichiro Ueda
Date: 2020-03-02 21:49:54
Viewed: 162 times - 30 minute 12 second ago
A zombie movie is in the works. Director Higurashi is not satisfied with the performance of the lead actress, Chinatsu, whose reactions to a zombie attack seem too fake, unrealistic. The zombie actor, Ko, tries to comfort her, but Chinatsu is really worried about the situation. Nao, the make-up artist, explains to the two that the location in which they are located is cursed: it is said that it was used long ago by the Japanese army for mysterious experiments on human guinea pigs aimed at bringing the dead back to life. A member of the troupe is suddenly attacked by what he believes is an actor made up of zombies, but is instead a real zombie.
Nao, Chinatsu and Ko miraculously manage to shut out the zombie and the zombified crew member, but they see with dismay that Higurashi undauntedly films everything: he finally manages to have the realism he wanted and does not want to miss the opportunity.
To obtain the action that Higurashi seeks, she did not hesitate to put Nao and the two actors in danger, giving life to a frantic struggle for survival.
Movies about zombies are a multitude often indistinct in which it seems impossible to elaborate patterns and new found, such is the overproductive impetus that has arisen over the years starting from that solitary masterpiece that was The night of the living dead. And so-called zombie comedies have also proliferated within this subgenre, trying to combine horror and humor with often unhappy outcomes. Sometimes, however, the small miracle of novelty and the right balance between the various components occurs. It had happened, to make just one title, a few years ago with the British miniseries Dead Set.
It happens again with this Zombie against Zombie, a Japanese film that gracefully displaces the expectations of the viewer, leading it with an often pressing pace through different changes of perspective, in a sort of zombific reworking of that mechanism of unveiling and metacinematographic (or in that case metateatrale) play ) which was the basis of the famous comedy Noises off stage. The deconstruction of the mechanisms of the genre is associated with the explanation of what lies behind the making of a film with a remarkable attention to detail and an appreciable hatch of the characters with few, but successful touches.
Divided into three distinct but closely related parts, the film is a fun and successful reflection on the very nature of cinema, as fiction and representation of reality, and above all on the difficulties of making cinema, on the compromises that filmmakers have to face and on relationship problems within the varied human assembly composed of cast and crew. If the first part is conducted with the rapid approximation of the second genre cinema of the genre (but with a notable touristic tour de force dictated by the particularity of shooting without detachments) and the second part is more expository and reflective, it is in the third part that the film fully unfolds its potential by arriving at an explosive redde rationem characterized by a pressing rhythm and an unstoppable flood of stunts.
The pleasure is also to discover gradually the explanation of many strange and often small things or circumstances that had generated perplexity or curiosity in the first part of the film: because - and this is a great value - everything returns, in the end, everything it is consequential and motivated, without neglecting even some small and apt epiphany on the psychology of the characters. The crescendo is therefore perfect and the film captivates, amuses and surprises more and more, revealing an unexpected analytical ability and intellectual depth that are also resolved in a guerrilla filmmaking peana and the necessary ability to solve every hitch of low budget filmmakers.
Shinichiro Ueda, who not only directs but also writes a careful and almost perfect script, shows remarkable qualities in the staging and a fresh and innovative point of view. Also noteworthy is the evidence of a very valid cast in which, despite the choral nature of the film and the overall validity of all the performances, the good Takayuki Hamatsu stands out in the role of director ready for anything and the expressive Suzuki Akiyama in the role of the leading actress .
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