BAMY (2017) by Jun Tanaka

Let us see if the successor of Kiyoshi Kurosawa is finally here


With a miniscule budget of 700,000 JPY (about $6,300), Jun Tanaka attempts to present a new take on the ghost (horror) story genre. The film premiered at Osaka Asian Film Festival, on March.

The introductory scene immediately sets the rather unusual tone of the film. Fumiko Tashiro is going up on an exterior elevator, when she witnesses a red umbrella flying outside the skyscraper she ascends. Some moments later, she is leaving the building and the same umbrella crashes in front of her on the street. The event alarms her and a passerby, who turns out to be an old acquaintance from college, Ryota Saeki. The story then flashes forward a year later, when the two of them are engaged, and have started living together. However, Ryota has been hiding a secret from her all this time: he has the ability to see ghosts, in a trait he does not understand and has made him somewhat neurotic. As time passes, his psychological status worsens and jeopardizes both his upcoming marriage and his work (in a warehouse). At the same time, he meets another woman with the same ability, Sae Kimura, who is even more terrified than he is. One more unexpected event complicates his life even more.


Jun Tanaka stated about the concept of the film: "The red thread of fate - an East Asian myth of a thread that ties destined lovers together - is nothing but a curse. We cannot will miracles to happen; they are forced upon us, abruptly and violently, by an unfathomably great power. One cannot escape it, one cannot resist it. The mythical thread then, if it exists, is surely something monstrous. Faced with such a force, man is always small and powerless. This miracle picks its targets arbitrarily, toys with them, and will not relent until its thread has drawn the fated pair together."

This point is represented, visually, by the almost omnipresent red umbrella, who symbolizes the above red thread, the connection between Fumiko and Ryota, which seems impossible to be cut. The presence of ghosts represents the second point; about the lack of control people have over their fate, and in essence, their lives. In that fashion, Tanaka communicates a rather pessimistic comment, which has people as puppets of fate, with little or none authority upon it. While the message is significant, the relationship of the two protagonists do not justify such a strong connection, since it seems like a usual, even uninteresting one, where the woman has the dominant role of the boss-mother and the man the one of the absent-minded man-child. Furthermore, the highly surrealistic ending sequence makes the message even more confusing and abstract, as the supernatural seems to give its place to the fantastic.


On the other hand, the aesthetics are almost without a fault, particularly when one considers the budget of the film. The cinematography is impressive, as the tints of grey that dominate the movie provide a very atmospheric setting, where horror, confusion, and insecurity seem to thrive. In this background, the portrayal of the ghosts, whose faces are always in the shadows, never actually appearing on screen, becomes even more ominous, as it also justifies Ryota's psychology, who seems to witness them everywhere. This imaging highlights the use of lighting in the movie, which is on a very high level. The framing is also very accomplished, presenting some interesting perspectives of the action in connection to each setting.

The sense that something very bad is going to happen is heightened even more by the soundtrack, which is comprised mostly of eerie chanting, and the use of sound, where Tanaka implemented an unusual technique. The sound becomes gradually louder at particular scenes, but at the point of its apogee, complete silence ensues, and the expected catastrophe indicated by the heightening of the sound never actually arrives. One would think that this tactic is infuriating, but it functions quite well, retaining a constant sense of agony throughout the film. Lastly, I enjoyed the fact that the various kissing scenes in the film have a distinct exploitation taint, being lengthy and quite passionate, emitting a sense of abnormal eroticism.


Hironobu Yunikaga as Ryota is the definite protagonist of the film, and is quite good in the role of a man in the brink of the nervous breakdown, who tries to hide his situation and present himself as normal, in order to keep his relationship. The moments he stands still, abruptly, when he sees a ghost are the highlights of his performance. Hiromi Nakazato is quite good in the archetypical role of the wife-mom, who refuses to see that something is wrong. Misaki Tsuge as Sae Kimura has a small role, but is rather good in presenting a constantly terrified woman. The scene when she becomes violent is her highlight.

"BAMY", despite some faults in the narrative, is an accomplished debut, and shows that Jun Tanaka is a talent that definitely deserves more than one look in the future, particularly because some of the essence of Kiyoshi Kurosawa's horror films seems to be lurking in his style.


COMMENTS

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13 Assassins,1,1987: When The Day Comes,1,2017,3,2LDK,1,3-Iron,1,A Better Tomorrow 2018,2,A Company Man,1,A Day,1,A Feeling Greater Than Love,1,A few words about us,1,A Girl at my Door,1,A Lonely Cow Weeps at Dawm,1,A Love,1,A Man of Integrity,1,A Man Vanishes,1,A Simple Life,1,A Single Rider,1,A Special Lady,1,A Stone from Another Mountain to Polish Your Own Stone. Go Shibata,1,A Tale of Love,1,A Taxi Driver,1,A tiger in winter,1,A Whale of a Tale,1,Abdullah Mohammad Saad,2,About Elly,1,Above the Clouds,1,Adam J. Symchuk,21,Adam John,6,Address Unknown,1,Aditya Vikram Sengupta,1,Adriana Rosati,18,Age of Innocence,1,Age of Shadows,1,Aihara Hiro,1,Akihiko Shiota,1,Akihiro Toda,1,Akio Fujimoto,1,Akira Ikeda,2,Akira Kurosawa,1,Akiyuki Shinbo,2,Alan Mak,1,Ale Amout,1,Alex Oost,1,Alexander Knoth,1,Ali Asghar Vadayeh Kheiri,1,Along with the Gods: The Two Worlds,1,Ambiguous Places,2,Amir Masoud Aghababeian,1,Amir Muhammad,2,Amitabh Reza,1,Anand Singh,3,Andrew Thayne,5,Andy Lau,1,Andy Willis,1,Anime,3,Animesh Aich,1,Ann Hui,1,Anna Bliss,3,Anqi Ju,1,Anshul Chauhan,2,Anthony Pun,1,Antiporno,1,Anurag Basu,1,Anysay Keola,1,Apprentice,1,Aqerat,2,Arang,1,Ariyuki Shinbo,1,Armour of God,1,Arrow,4,Art Film Fest Kosice,1,Article Films,3,Asghar Farhadi,1,Asha Jaoar Majhe,1,Asian Classics,27,Ask the Sexpert. India,1,Aya Hanabusa,1,Aya Itabe,1,Aynabaji,1,Baasansuren Nyamdavaa,1,Bad Poetry Tokyo,4,Badrul Hisham,1,Badrul Hisham Ismail,1,BAMY,2,Bangkok Nites,1,Bangladesh,8,Banjong Pisanthanakun,1,Banmei Takahashi,1,Battle of Memories,1,Battleship Island,1,Before We Vanish,2,Behind the Camera,1,Belgium,1,Ben Stykuc,5,Bengal,1,BFI,1,Bhutan,2,Big Tits Dragon,1,Billy Joe,2,Black,1,Blade of the Immortal,1,Bleeding Steel,1,Bloodrunner Zero,1,Bloody Muscle Builder in Hell,1,Bluebeard,1,Bollywood,1,Boo Junfeng,1,Born Bone Born,1,Branded to Kill,2,Breathless,1,Brothers in Heaven,1,Bunny Drop,1,Burma,1,Burning Birds,2,Bystanders,1,Byun Sung-Hyun,1,Call Boy,1,Cambodia,4,Camera Japan,10,Cannes Film Festival,5,Chang,1,Chang Zheng,1,Cheng Cheng Films,1,Children Heaven,1,China,43,Chinese Policy Institute,6,Chinese Shadows,2,Chinese Visual Festival,1,Cho Keun-Hyun,1,Choi Jin-ho,1,Choi Jin-won,1,Choi Min-sik,1,Chris Berry,1,Chu Yuan,1,Chung Ji-young,1,Chungking Express,1,Close-Knit,1,Coffeemates,1,Colette Balmain,7,Colour of the Game,1,Competition,2,Confessions,1,Contact Info,1,Creative Visions: Hong Kong Cinema,1,Criminal City,1,Crocodile,1,Crosscurrent,1,Crows Zero,1,Cyrano Agency,1,Daguerreotype,1,Daigo Matsui,1,Daihachi Yoshida,1,Daisuke Gotô,2,Daisuke Miura,1,Daisuke Miyazaki,3,Dante Lam,1,David Chew,5,David Chew.,1,David Shin,1,Davy Chou,1,Dawn Wind in My Poncho,1,Ddongpari,1,Dead Friend,1,Dead Sushi,1,Deadly Outlaw: Rekka,1,Dechen Roden,1,Deepak Rauniyar,1,Derek Hui,1,Destruction Babies,1,Diary of June,1,Digger,1,Ding Shen,1,Ding Sheng,2,Dismembered,1,Documentaries,18,Documentary,3,Doenjang,1,Don Anelli,23,Dong Yue,1,Double Life,1,Dr. Heo,1,drama,1,Duelist,1,East Winds Film Festival,1,Edmund Yeo,4,Educating Yuna,1,Eiji Uchida,2,Emmanuel Horlaza,1,Enter the Warriors Gate,1,Erotic Diary of an Office Lady,1,Eureka,7,Evil and the Mask,1,Exploitation,34,Explosion,1,Fabricated City,1,Far East Film Festival,7,Fatal Countdown: Reset,1,Fathers,1,Faye Wong,1,Features,23,Feautures,1,FEFF20,1,Fel,8,Festivals,13,Filmddo,1,Filmdoo,17,Fireworks,1,Fireworks Should We See It from the Side or the Bottom?,2,Five Flavors Festival,3,Five Flavours,1,Five Flavours Festival,5,Flying Fish,1,Forgetting Vietnam,1,France,1,Fraser Elliott,1,From Vegas to Macau III,1,Fujian Blue,1,Fullmetal Alchemist,1,Fumihiko Sori,1,Funeral Parade of Roses,1,Funuke Show Some Love,1,Fuyuhiko Nishi,1,Giddens Ko,1,Gillian Anderson,1,God of War,1,Godzilla: Planet of the Monsters,1,Golden Horse Awards,1,Golden Slumbers,1,Good -Bye Silence,2,Gordon Chan,1,Goro Miyazaki,1,Guo Jian-yong,2,Han Jie,1,Hanagatami,1,Hanging Garden,1,Hanuman,1,Hapkido,1,Hashiguchi Takaaki,1,Haunters,1,HBO,2,Heart Attack,1,Helldriver,1,Helsinki Cine Aasia Festival 2018,3,Her Own Address,1,Herman Yau,1,Heung-Boo: The Revolutionist,1,Hidden Gems,50,Hideo Sakaki,1,High-Kick Girl,1,Hindi,1,Hiro Aihara,1,Hirobumi Watanabe,2,Hirokazu Koreeda,4,Hiroshi Ando,1,Hiroshi Shoji,1,Hiroshi Teshigahara,1,Hiroyuki Seshita,1,HKETO,1,Ho Yuhang,1,Holy Island,1,Honeygiver Among the Dogs,1,Hong Ki-Seon,1,Hong Kong,10,Hong Kong Godfather,1,Hong Sang-soo,1,Hongkong,1,Horror,3,Huang Fend,1,Huang Huang,1,Hwang Dong-Hyuk,1,I Am A Hero,1,I Saw the Devil,1,I Wish,1,I-Lin Liu,8,ICA,3,Icarus Films,4,IFFLA,3,IFFR,2,Im Kyeong-soo,1,Imran Firdaus,1,Imran Fridaus,1,In this Corner of the World,3,Indonesia,5,Initiation Love,1,International Chinese Film Festival,1,International Film Festival Rotterdam,9,Interview,2,Interviews,35,Intimate Confessions of a Chinese Courtesan,1,Inugami,1,Inuyashiki,1,Iran,8,Ishmael Bernal,1,Isora Iwakiri,1,J.P. 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Seta,1,Lebanon,1,Lee An-gyu,1,Lee Byeong-Hun,1,Lee Byung-Hun,1,Lee Chang-Hee,1,Lee Je-Yong,1,Lee Joo-young,1,Lee Jung-sun,1,Lee Kwang-kuk,1,Lee Myung-se,1,Lee Sa-rang,1,Lee Seo-goon,1,Leo Zhang,1,Leon Lai,1,Leste Chen,1,Leung Wing-Fai,1,Ley Lines,1,Li Ruijun,1,Like Father,1,Like Son,1,Lim Sang-yoon,1,Lists,11,Little Big Soldier,1,Little Forest,1,Live from Dhaka,1,Live Up To Your Name,1,Loi Bao,1,London Korean Film Festival,1,Los Angeles Indian Festival,3,Love,1,Love and Other Cults,1,Lovers Are Wet,1,Lowlife Love,1,Lyberis,3,Mad Tiger,1,Mad World,1,Madman,2,Mahde Hasan,1,Mai Chan's Daily Life: The Movie,1,Majid Majidi,1,Makoto Shinkai,1,Malaysia,10,Mama,1,Mamoru Hosoda,1,Manny Araneta,1,March Comes in like a Lion,1,Maria Georgiou,23,Mark Gallagher,1,Mary Jirmanus Saba,1,Masaaki Yuasa,2,Masaharu Take,1,Masakazu Sugita,1,Masaki Adachi,1,Masanori Tominaga,1,Masaru Konume,1,Masato Harada,2,Masatoshi Kurakata,1,Matt Cooper,14,Matthew D. 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Asian Film Vault: BAMY (2017) by Jun Tanaka
BAMY (2017) by Jun Tanaka
Let us see if the successor of Kiyoshi Kurosawa is finally here
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Asian Film Vault
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