Milocrorze

An Ishibashi, d-privileges, Kazumo production. Created by Masataka Izumi, Toshiharu Ozawa, Hiroaki Saito. Directed, written, edited by Yoshimasa Ishibashi.With: Takayuki Yamada, Maiko, Anna Ishibashi, Seijun Suzuki, Mieko Harada, Eiji Okuda, Maiko.Helmer Yoshimasa Ishibashi, enfant terrible of advertisements and episodic television, here fully bursts into features with "Milocrorze," a splashy, vivid, time- and space-repel romp that loosely ties together three extremely disparate tales which include several layers of dissonance and discordancy. Pic is featured at two overlapping Gotham fests that focus on such genre-confounding fantasy fare, becoming opener in the N.Y. Asian Film Festival and focal point of Japan Cuts. Ishibashi's apparently little-seen first feature, black-and-whitened "Kurawasetaino," apparently was equally off-the-wall that one will certainly carve a distinct segment among vid-enthusiasts who love the bizarre. The very first (and least) from the segments, recounted just like a fractured story book, concerns Ovreneli Vreneligare, a 7-year-old salaryman whose diminutive stature and vibrant orange bowl-cut hair distinguish him from the ocean of grey-garbed fellow-individuals. Experiencing an attractive lady, the "great Milocrorze," (performed through the mono-monikered Maiko) on the park bench, he instantly falls smitten, assumes three jobs to pay for a huge home, and moves along with her in a condition of simplistic bliss -- until a time-appropriate problem intervenes. Second up, Besson Kumagai (Takayuki Yamada) counsels teenage boys within the cycle of unrequited love. Introduced like a guest on the tawdry TV-show, he disses his gushy host and dangles on phone callers. Brash, surly and contemptuous, he goodies his clients as "wimps" and worse, while meting out dubious, chauvinistic or frankly absurd advice. Clothed inside a dazzling whitened suit, between scantily clad women, he not just flouts rules of decorum but additionally violates physical laws and regulations, crossing within the film's split-screen lines or entering the telephone booth of the individual he's speaking to. Part 3 features the pic's piece p resistance, a stylized 12-minute samurai sword fight that crashes with the sliding sections of the endless, delicious bordello, delivering drinks, bloodstream and ladies flying full of slo-mo because the hero slashes his way from area to area looking for his lost love. When the second story conflates space, this third story of 1-eyed samurai Tamon (Yamada again) constitutes a hash of your time, flashing back from medieval Japan "3 years formerly" to the current-day where Tamon meets his soulmate Yuri (Anna Ishibashi). After Yuri is kidnapped, Tamon wanders the roads, his garb growing a lot more ancient until he makes its way into the lawless feudal pleasure town of Tenzaku-Ro inside a red-colored kimono, and also the action tour-p-pressure commences. Using versatile rising star Yamada in most three love-crazed tales (he seems like a grown-up Ovreneli Vreneligare within the film's coda) produces a cockeyed continuum. However the film's true constant is based on its flamboyant Pop-art aesthetic, wild chromatic stylization and cartoon-like manipulation of narrative.Camera (color), Katsuharu Oyamada music, Yuko Ikoma, Kosuke Shimizu, Osamu Kubota production designer, Ishibashi art director, Matsuka Kimura visual designers Koichi Emura, Aki Funabiki action coordinator, Fumihito Minamitsuji. Examined in the Japan Society, This summer 10, 2011. (Also in N.Y. Asian Film Festival, opener.) Running time: 90 MIN. Contact the range newsroom at news@variety.com