Author: Ben Dimagmaliw

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2018: Looking Back & Forward

Indievisual’s first full calendar year (it went live in April of 2017 with a Year-in-Review posted 8 months later) set new milestones and solidly built upon the momentum of its launch. The number of interviews published approached a respectable pace of one every two months. Caught My Eye write-ups also saw an increase following the new guiding principle for how they would be written as detailed in this blog entry. And with some good fortune, the number of Side Stories remained unchanged. 2018 was a landmark year for writing articles and interviewing filmmakers. Or…that is what could have been written. Sadly, the reality is quite different. 2018 was a good year certainly for paid work with many opportunities received from long time collaborators. This was also the first year translation work needed to be juggled with a job in the other realm in which I have a foot still planted. For more on this, please follow this link as I do not wish to dedicate space for it here. Suffice it to say, simultaneously working …

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Killer Smile – Asakura Kayoko

There is a perceptual problem in cinema that women are not suited for or interested in directing genre movies. Making such an assumption about Asakura Kayoko based on her model-esque stature and charming smile would be a disservice to the well-versed director and passionate fan of genre fare. At the 2014 Etheria Film Night where Asakura’s slow burn horror short HIDE and SEEK screened, feminist magazine ‘Bitch Media‘ reported a man expressing incredulity the evening’s chills and thrills were directed by Asakura and the other female filmmakers who walked on stage post-screening. Many male directors have become reliable brand names of genre movies, but there are few female directors with equal clout. The fact Asakura has had even fewer working female directors in her native Japan to venerate, especially in genres such as horror, makes the attention she has gained to date all the more remarkable. Raised in Yamaguchi Prefecture, her first encounter with cinema was in the form of Steven Spielberg’s E.T. when she was young child. After graduating high school she left Yamaguchi in …

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Sweating the Small Stuff

It’s often said a filmmaker’s second work tends to be their most personal. For Ninomiya Ryutaro, the writer, director, editor, and star of his sophomore effort Sweating the Small Stuff this could literally be the case. Reportedly based on true events, and apparently shot in the locations those events happened, is the story of the protagonist (also named Ninomiya Ryutaro) spinning his wheels through a nihilistic life his very own? Auto mechanic Ryutaro, 27 years old, lives a fairly simple life. He seems confident, at least his swagger communicates as much, but spends much of his time reading books and drinking beers with friends. Something seems to be holding him back. One day, he receives a phone call from Yusuke, his childhood friend whose mother, Ryuko, is dying from Hepatitis C. Despite knowing for a while that Ryuko was sick, Ryutaro hasn’t visited her. And then he finally decides to go. Japanese independent cinema is populated with similar tales of characters aimlessly drifting through life but Ninomya’s movie may be able to distinguish itself from …

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Indie Forum 2018

The 2018 Osaka Asian Film Festival once again beckoned with its Indie Forum section offering a mix of surprising, delightful, thoughtful, and once in a while challenging movies thus preserving its position as an important showcase of independent Japanese cinema. Read about the twelve films viewed.

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All In Due Time

If taken just on face value, the career of Furuta Wataru might seem inapplicable to a magazine about independent film directors. After all, the Shizuoka Prefecture native studied economics and computer programming at a Canadian university and upon graduation landed a job as a programmer for a computer company before being transferred to manage sales, advertisement, and promotion there. Only upon joining a production company did he begin creating visuals as a computer graphic artist. However, look a little closer and you’ll discover Furuta is an award-winning director of short movies that have played at various festivals both at home and abroad. His unique vision and humor has often been praised including by the likes of director Izutsu Kazuyuki, the Japanese equivalent of Simon from ‘American Idol’, who had “no complaints” about Furuta’s short, Confession, saying it was “a masterpiece.” Even when not in the director’s chair, the works with which he’s been involved still garner attention. He produced the outrageous Burst the Earth short movie compilation which created quite a buzz following its broadcast …

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A Look Back

Indievisual went live in April of 2017. It’s been ten months since then and the journey has been amazing. Revisiting filmmakers interviewed, features written, and movies introduced, I look back at a year of learning to crawl before I walk.

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Through a Theater Darkly

The role of media in society has changed significantly over the last several years. It’s becoming more difficult to tell if media influences the masses or if the masses influence the media. Ogata Takaomi was becoming aware of this blurring of lines between sensationalism and journalism almost a decade ago. An avid lover of cinema since childhood, the Fukuoka native speaks of movies with an eager grin and a mild manner which belie the movies he has made. At the age of 25, he left the startup-up he founded as a partner and traveled abroad extensively. It was then he began to see the only way of life and society he knew in an entirely different light. His filmography is a gallery of thought-provoking studies intended to shed light on the biases instilled by society and the media in all of us. Ogata’s filmmaking is likely best described by the old adage “walk a mile in another man’s moccasins”. Having once aspired to journalism, he is unwavering in his dedication to steer his stories away …