CULTURE / MOVIE
Selection in which the border was vividly removed

The 18th Tokyo Filmex closed on November 26th. An exceptional result in an unusual case that two Best Work Awards were selected this year. The fact that both “殺人者マルリナ”(Marlina the Murderer in Four Acts/2017) and “見えるもの、見えざるもの”(The Seen and Unseen/2017)are directed by female directors born in Jakarta made us.

Director ジャ・ジャンクー 賈樟柯 finished last part of “逢春”(2017), in the omnibus “時はどこへ？”(Where Has Time Gone? /2017), which produced by herself, with the words “he past is past, the future is coming." That must have been a bouquet given to this film festival born at the final of the 20th century, and a media called movie.

Beyond the border. That is the intention of all the movies that gathered here, but in the first place movies have the power to overcome predefined boundaries such as borders and languages. Especially this year it was a selection that fiction / documentary border was vividly removed. Among them, the powerful experience was”泳ぎすぎた夜”(The Night I Swam/2018)directed by五十嵐耕平 Kohei Igarashi andダミアン・マニヴェル Damien Manivel, as well as”24フレーム”(24 FRAMES/2017) directed byアッバス・キアロスタミ Abbas Kiarostami.

In “泳ぎすぎた夜”(The Night I Swam/2018), a 6-year-old boy tries to deliver his drawing to his father working at the fish market. An adventure story of just a single day is a rare fiction that pleasures and sorrows of thorough loneliness exist simultaneously. It was also an excellent documentary to witness the transformation of unconsciousness of an inexperience actor boy named Takara Kogawa, with his flesh.

On the other hand, “24フレーム”(24 FRAMES/2017)where there are almost no dialogs and almost no human figure exist is a conceptual one that you can call "24 moving pictures,” innocently eliminating like a magic the stubborn thinking of the audience trying to see the boundary between fiction and reality, without escaping to art. Look, the smile of the producer is the advancing movie. It was a happy moment that made me realize that.

Written by：Toji Aida