A terrible murder has occurred in the love hotel district of Maruyama-cho, Shibuya (Tokyo). A woman’s dismembered body and creatively rearranged with that of a mannequin. The police is investigating the case.
Izumi (Kagurazaka Megumi) is a devout wife and the picture girl for housewives in the 1950s. Unfortunately it’s the 1990s and Izumi, who’s turning 30, would like to do something with her life. Anything really, that doesn’t involve only thinking about her husband (Tsuda Kanji) Yukio’s slippers and marseille soap all day. Yukio is a famous novelist who’s never home. He treats her wife like a maid and doesn’t really seem to love or care about her. Out of boredom Izumi decides to take a job cooking sausage samples in a local supermarket. One day a costumer notices her and asks her if she wants to become a model. Turns out the new job involves more than just posing naked. At first Izumi seems to be finally taking control of her life, but then everything spirals down in a vortex of sex, prostitution and water balloons filled with pink paint. Continue reading
This week Criterion asked about our favorite title designs on Facebook. After thinking about it and reading other people’s responses and trying to remember if my favorite films had a title card at all I narrowed it down to ten I think are pretty awesome. Some filmmakers consistently think their title sequences through like Sofia Coppola, Lars von Trier or Sono Sion, so I just picked one of theirs, but I’m not even sure it’s their best, but that’s what I was able to find on the good ole internet. At this point I’d also like to mention Woody Allen who has consistently kept same identical opening titles for his entire career, I won’t count him in this list, but y’all know his signature font, so..
These are my favorite title cards in chronological order, because I’m not good at ranking stuff.