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О, Люси! / Oh Lucy!

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О, Люси! / Oh Lucy!

год 2017
страна США, Япония
слоган -
режиссер Ацуко Хираянаги
сценарий Борис Фрумин, Ацуко Хираянаги
продюсер Джессика Элбаум, Ацуко Хираянаги, Юки Кито, ...
оператор Паула Хьюидобро
композитор -
художник Норифуми Атака, Джейсон Хугаард, Масаэ Миямото
монтаж Кейт Хикки
жанр драма, комедия, ...

В ролях:
    Синобу Тэрадзима
    Джош Хартнетт
    Кахо Минами
    Кодзи Якусё
    Сиори Куцуна
    Рейко Эйлсворт
    Арман Торосян

imdb.com

kinopoisk.ru

Начало обсуждения: Josh Hartnett, Shinobu Terajima in U.S.-Japan Drama-Comedy ‘Oh Lucy!’ в разделе Новости.

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Первый постер к фильму "О,Люси!"  :flag:
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1st image from "Oh Lucy"

Источник

В основном конкурсе Недели критиков в Каннах будет представлена любовная комедия режиссера Ацуко Хираянаги «О, Люси!» С Джошем Хартнеттом в главной роли.
Престижный конкурс Неделя критики проводится на Лазурном берегу Франции одновременно с Каннским кинофестивалем, но не является его частью.

В ролях Джош Хартнетт, Синобу Тэрадзима, Кахо Минами, Кодзи Якусё, Сиори Куцуна и др.
Джош Хартнетт играет роль молодого преподавателя, привнесшего в жизнь 55-летней женщины интригу и авантюру, страсть и невероятные приключения...

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Первые кадры из фильма "О, Люси!"
Источник:
http://www.awardstoday.it/2017/05/canne … prime.html

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французский

Cannes 2017: Josh Hartnett nelle prime immagini di 'Oh Lucy!'

Il suo cortometraggio dal titolo omonimo ha conquistato nel 2014 il Festival di Cannes, dove ha vinto il secondo posto del Cinefondation Award, e il Sundance Film Festival dove ha conquistato il premio della giuria; adesso la regista Atsuko Hirayanagi è pronta a esordire con il suo primo lungometraggio adattamento del suo stesso corto di successo. Oh Lucy! è un comedy drama ambientato per le strade di Tokyo, e ha come protagonista un'imprevedibile personaggio.

Setsuko ha superato gli "anta" ma le particolari lezioni di inglese che prende e una parrucca bionda la rigenerano trasformandola in Lucy. Ben presto, Setsuko si innamora dell'insegnante John e, quando egli scompare misteriosamente, decide di imbarcarsi con la sorella in una missione di ricerca che da Tokyo la porterà nel sud della California.

Il film vede come protagonista Shinobu Terajima, attrice celebre per i ruoli in Mille miglia lontano (2005) e Caterpillar (2010), vede nel cast anche l'attore americano Josh Hartnett. Questo mese Oh Lucy! verrà presentato durante la Settimana della critica del Festival di Cannes 2017, dove concorre per la vittoria della Caméra d'or.

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Кадр из фильма

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Nicolas Lemerle анализирует японский фильм "О, Люси!" на неделе критики в Каннах.

СПОЙЛЕР!!!  Spoiler!!!
новый кадр из фильма:
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Рецензия на французском.

Cannes 2017 – Jour 2 : Seconde vie (Oh Lucy! de Atsuko Hirayanagi)
Posté le 18 mai 2017 par Nicolas Lemerle (East Asia)

La Semaine de la Critique, cette année, n’a malheureusement pas beaucoup de cinéma asiatique à nous présenter. Le seul film de la sélection, Oh Lucy! de la jeune réalisatrice japonaise Atsuko Hirayanagi, est, de plus, co-produit avec les Etats-Unis. Rien de plus normal puisque le film a été tourné entre Tokyo et Los Angeles. Adaptant son propre court-métrage éponyme, Atsuko Hirayanagi signe ici son premier long-métrage, avec une refonte totale du casting, beaucoup plus prestigieux, et une ambition revue à la hausse.

L’introduction du film plante frontalement le décor : un groupe de Tokyoïtes parés de masques chirurgicaux s’agglutine sur un quai. Un homme s’avance et chuchote quelques mots inaudibles à l’oreille de la femme devant lui, avant de se jeter sous le métro. Cette scène paraît surréaliste, et pourtant, à travers elle, on est d’emblée aspiré dans l’univers oppressant de Setsuko (Shinobu Terajima), cette femme proche de la soixantaine qui a reçu les derniers mots du jeune homme avant son suicide. Passé le choc, elle continue sa route, arrive à son travail, nettoie le sang sur ses vêtements comme si de rien n’était. Comme si tout cela était normal. Setsuko ne vit plus. Elle survit, sans avenir, sans lendemain, seule, coincée entre les bureaux froids de l’open space où elle travaille, et le capharnaüm qui lui sert d’appartement. Confrontée aux différentes formes d’hypocrisie qui gangrènent le milieu social dans lequel elle évolue quotidiennement, elle fait partie intégrante de ce système où l’être humain est ramené plus bas que terre.
Setsuko va en plus être trahie par sa propre nièce Mika (Shiori Kutsuna), qui l’embarque dans des cours d’anglais dispensés par John, son copain américain (Josh Hartnett), histoire de récolter l’argent qui permettra aux deux tourtereaux de s’envoler vers les Etats-Unis. Mais ces cours un peu spéciaux agissent comme un électrochoc sur Setsuko. Elle s’y crée une nouvelle identité, Lucy, se rapproche de John, et fait la rencontre de Komori (Kôji Yakusho), un veuf venu lui aussi se créer une double identité américaine. Alors, quand Mika et John disparaissent ensemble, Setsuko tente de convaincre sa sœur Ayako, la mère de Mika (Kaho Minami), de partir à leur recherche dans le sud californien.

Ce voyage salvateur offre une véritable échappatoire au quotidien morose de Setsuko. Un second souffle qui extirpe Oh Lucy! du chemin lourd et étouffant trop souvent emprunté par le cinéma d’auteur japonais. Le film prend alors des allures de road movie mélancolique, et la réalisatrice parvient à varier les tons avec brio, osant même quelques francs moments de comédie quand il s’agit de dépeindre la relation conflictuelle entre les deux sœurs. Malgré tout, la gravité qui parcourt le film n’est jamais loin. La question du suicide, par exemple, reste prégnante à chaque instant, sous différentes formes, telle la conséquence de cette société malade qui rêve d’Occident comme moyen d’épanouissement souvent illusoire.
Pour autant, même si la mort n’est jamais très loin, Oh Lucy! célèbre la vie avant tout. A force de manipulations, de mensonges, de secrets, de non-dits, les liens entre les personnages sont mis à rudes épreuves, mais un simple geste de tendresse, franc et sincère, peut empêcher l’irréparable. Derrière le tableau sombre, le message d’Atsuko Hirayanagi est porteur d’espoir. Son film confirme en tout cas la naissance d’un talent prometteur dans le milieu du cinéma d’auteur japonais.

Nicolas Lemerle

Источник

Электронный перевод:

Свернутый текст

Канны 2017 - День 2: Second Life (О Люси Атшеко Хирейенеджи!)
Опубликовано 18 мая 2017 года Николя Лемерл (Восточная Азия)

Неделя критиков в этом году, к сожалению, не много азиатского кино, чтобы ввести себя. Единственный выбор фильма, о Люсе! молодой японский режиссер Атшеко Хирейенеджи, также сопродюсером с Соединенными Штатами. Ничего более нормально, потому что фильм был снят между Токио и Лос-Анджелесе. Адаптирование свой собственный одноименный короткометражный фильм, Атшеко Хирейенеджи признаки здесь его первый художественный фильм, с капитального ремонта литых, гораздо более престижным, и амбиции пересмотрены в сторону повышения.

Введение фильма фронтально устанавливает сцену: группа Токио палубной хирургические маски склеивает на скамье подсудимых. Человек делает шаг вперед и шепчет несколько неслышимых слов в ухе женщины перед ним, прежде чем выбросить в метро. Эта сцена кажется ирреальной, и все же, через него, один сразу же втягиваются в гнетущий мир Сэцуко (Шиноб Тераджим), эта женщину возле ее шестидесятые, который получил последние слова молодого человека до его самоубийства. После шока, она продолжает свой путь, получает работу, очищает кровь на его одежде, как будто ничего не случилось. Как будто это было нормально. Сэцуко дольше живет. Она выживает, ни будущее, ни будущего, только, не зажатой между холодными офисами открытого пространством, где она работает, и беспорядок, который служит в качестве квартиры. Столкнувшись с различными формами лицемерия, которые досаждают социальную среду, в которой он работает ежедневно, оно является неотъемлемой частью системы, в которой человеческое существо снижается ниже, чем грязь.
Сэцуко будет все больше предан своей собственной племянницы Mika (Шиори Кутсуна), который отправляется на курсы английского языка учил Джон, ее американский бойфренд (Джош Хартнетт), только чтобы собрать деньги, что позволит двум голубков летать в Соединенные Штаты. Но эти несколько спецкурсов действовать как шок на Сэцуко. Это создает новую идентичность, Люся, приближается к Джону, и отвечает Komori (Кодзи Якушо), вдовец пришло также создать двойную американскую идентичность. Так что, когда Джон Мика и исчезает вместе, Сэцуко пытается убедить свою сестру, Аяко~d, мать Mika (Кахи Мины) искать их в южной Калифорнии.

Эта спасительная путешествия предлагает истинное спасение от мрачных ежедневных Сэцуко. Второй ветер искореняет Oh Люси! тяжелый и душный слишком часто используется японский кинорежиссёра кино. Затем пленка выглядит меланхоличным роуд-муви, и режиссер умудряется изменять тона с блеском, даже решаясь несколько франков комедийные моменты, когда речь идет, чтобы изобразить конфликтные отношения между двумя сестрами. Тем не менее, серьезность, которая проходит через пленку никогда не далеко. Вопрос о самоубийстве, например, остается беременной в любое время, в разных формах, как следствие этого больного общества, что мечтает о Западе как средство развития часто иллюзорной.
Однако, даже если смерть никогда не далеко, О Люси! празднует жизнь первой. Цена манипуляции, ложь, секреты, невысказанные, отношения между персонажами ставятся суровые испытания, но простой жест нежности, откровенных и искренних, может предотвратить непоправимые. За мрачной картины, сообщение Атшеко Хирейенеджи приносит надежду. Его фильм подтверждает в любом случае рождение многообещающего таланта в мире японского авторского кино.
Николя Лемерл.

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Новые кадры из фильма!  :flag:

Источник:  https://www.facebook.com/ohlucymovie/?pnref=story

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И двухминутный отрывок из фильма, смотрите по ссылке:  :flag:

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variety.com

Cannes Film Review: ‘Oh Lucy!’

Andrew Barker
Senior Features Writer @barkerrant

Atsuko Hirayanagi's culture-clash comedy is a chocolate trifle with an arsenic core.

Try to picture a Japanese remake of “Hello, My Name Is Doris,” shot through with an undertow of quiet desperation that wouldn’t be out of place in a Cristian Mungiu film, and you’re halfway toward grasping the strange appeal of director Atsuko Hirayanagi’s feature debut, “Oh Lucy!” Like a chocolate trifle with an arsenic core, this quirky portrait of a lonely Tokyo woman who follows her English teacher to California offers a skewed take on American indie tropes, effectively gesturing toward broad comic appeal while offering peeks at a profound darkness just beneath. Expanded from her award-winning short of the same title, “Oh Lucy!” betrays some rough edges in the transition, but Hirayanagi’s idiosyncratic touch marks her as a talent worth tracking.

Set in some of the least picturesque corners of Tokyo, “Oh Lucy!” is a character study about a character rarely seen on film: a quietly miserable, single, middle-aged Japanese wage-slave. Setsuko (Shinobu Terajima) is a woman with few obvious qualities, and even fewer opportunities, friends, lovers, or interests. A withdrawn, chain-smoking loner in an office culture built on forced displays of camaraderie, her workday begins when she witnesses a suicide on the subway, and continues as she watches an aging employee on the verge of retirement soak up the condescending affection of her coworkers, all of whom are quick to make fun of her once she leaves the room. The subway jumper, the lonely old pensioner – it’s clear that Setsuko sees these as her two most likely options.

Her life gets an unexpected jolt after a visit from her fun-loving twentysomething niece, Mika (Shioli Kutsuna) who badgers her into signing up for English lessons with an unconventional tutor. Working out of a seedy love hotel, John (Josh Hartnett) teaches English through a strange sort of cultural immersion. Hoping to shake his students out of their careful formality with some role-playing, he gives them each American names and outlandish wigs to wear – Setsuko is renamed Lucy and given a set of shaggy blonde curls – all the while trampling over every line of cultural propriety. “I’m a hugger,” he purrs as he goes in for a big embrace at their first lesson. At first Setsuko shrinks away in horror; later she returns the hug with somewhat alarming vigor.

Much to her surprise, Setsuko takes to the new identity with zest, feeling empowered to say and do all the things as Lucy that she’d never considered in her old, buttoned-down daily slog, and taking a liking to a widowed fellow student (Koji Yakusho). At this point, “Oh Lucy!” seems poised to develop into a typical saga of midlife liberation, but Hirayanagi gives it one important wrinkle: Setsuko’s reawakened inner teenager makes some truly poor decisions. When she finally gets the courage to speak her mind to her coworkers, for example, her barbs are tinged with such cruelty that she immediately regrets it. And when she shows up for her second English lesson only to find that secret lovers Tom and Mika have run off to America, she follows him to L.A. for a visit, taking Ayako (Kaho Minami), her Lucille Bluth-esque sister – and Mika’s disapproving mother – along.

Most of the film’s first third is taken from Hirayanagi’s 2014 short, and when Setsuko and Ayako head to California in the second, it loses its clockwork comic precision. But the shaggier back half also begins to open up in some unexpected ways. When the two sisters find John, he’s lost whatever suave magic he managed to project as a smooth-talking expat in Asia – in America, he’s just another deadbeat surfer dude, two months late on his rent in a run-down apartment complex. Mika has left him, with a motel postcard from San Diego the only clue to her whereabouts, so the unlikely threesome set off on a road trip to try to find her, with Setsuko clearly weighing a whole host of further bad decisions.

Terajima is irresistible in the lead role, shifting from painfully childlike vulnerability to rapier nastiness on a dime; in one late scene with Hartnett, she appears to age fifteen years in a matter of seconds. It helps that Hirayanagi’s loose filmmaking style gives her plenty of room to flesh out the character, sometimes lingering on the aftermath of a punchline for a few seconds too many, allowing the laughter to start to curdle into discomfort, rather than simply cutting away.

Perhaps most importantly, Hirayanagi clearly has deep affection for this character, and keeps the full bleakness of her life tucked carefully away until she’s ready to use it. When she shoots Setsuko’s tiny studio apartment, for example, she keeps the camera tightly focused on the actress, such that the weeks’ worth of piled up mail, overflowing ashtrays and unfolded clothes strewn carelessly around only vaguely register in the blurry foregrounds. Most of “Oh Lucy!” passes by breezily, and in different hands this could easily be a crowdpleasing comedy – Minami is hilarious throughout, and the film contains the strangest use of Vanessa Carlton’s “A Thousand Miles” since “White Chicks” – but when Hirayanagi opts to plunge deeper, you realize the darkness has been there waiting all along.

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Cannes Film Review: 'Oh Lucy!'
Reviewed at UTA screening room, Beverly Hills, May 10, 2017. (In Cannes Film Festival – Critics’ Week.) Running time: 95 MIN.
Production
A Matchgirl Pictures, Gloria Sanchez, Meridian Content production. Produced by Han West, Yukie Kito, Jessica Elbaum, Atsuko Hirayanagi. Executive producers, Ramzig Hovaghimian, Meileen Choo, Will Ferrell, Adam McKay.
Crew
Directed by Atsuko Hirayanagi. Screenplay, Hirayanagi, Boris Frumin. Camera (color): Paula Huidobro. Editor: Kate Hickey. Music: Erik Friedlander. Production designers: Norifumi Ataka, Jason Hougaard.
With
Shinobu Terajima, Kaho Minami, Josh Hartnett, Shioli Kutsuna, Koji Yakusho.

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Ещё один отзыв о фильме "О, Люси!", теперь от guardian  :flag:

Oh Lucy! review – Japanese tale of office worker in love with her teacher is a little wonky

Travel broadens the mind, of course, but also carries attendant risks. Sudden exposure to fresh cultures, new experiences can leave the tourist feeling windblown and confused, pitching from the initial giddy euphoria towards a full-blown nervous collapse; a danger to themselves and those in the immediate vicinity – particularly if the vicinity is a high cliff on the Pacific coast. Such is the fate of wonky Setsuko (Shinobu Terajima), the lost wanderer at the heart of Atsuko Hirayanagi’s similarly skittish Oh Lucy!. Setsuko hugs the film and the film hugs her back. And together they inch towards the cliff edge.
The Square review – Ruben Östlund turns art world satire into performance-art cinema
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Read more

None of which is to suggest that Setsuko wouldn’t benefit from a change of scene, even a bold new identity. She’s a lovelorn middle-aged office drone, chain-smoking her way to an early grave and deflecting all of life’s vagaries with a crimped and agonised smile. Then salvation comes in the form of John, a handsome English-language teacher. He’s played by Josh Hartnett with a front of hearty bonhomie and the rueful air of an actor who suspects that he came within a whisker of being Brad Pitt.

Inside his shabby classroom, John greets Setsuko with a big American hug and proceeds to plop a blonde wig on her head. He renames her Lucy and decides that her fellow student, Takeshi, should henceforth be called Tom. Setsuko disapproves, but she hangs on to the wig.

Hirayanagi’s tale was first rolled out as an award-winning short back in 2014. Now it has been expanded and extrapolated almost to a fault, in that Oh Lucy! seems dazzled by the wide horizons of its feature-length running time, unsure precisely what path to explore next. Having set out as a droll tragicomedy about Japan’s lonely crowd, this abruptly forks off to become a culture-clash farce; its pace picking up; its anxiety mounting.

When John absconds to California, Setsuko rushes to retrieve him, hurling herself against this foreign environment like a bird against a picture window. John is flattered by the attention, but he turns out to be almost as much of a mess as his pursuer is. And while Setsuko believes she might love him, it’s more likely that what she loves is the idea of getting away from herself, making out like she’s Lucy and that the sky’s full of diamonds.

No doubt it’s fitting that a film about transformation and reinvention should be so prone to that too. Oh Lucy!’s plot feels overthought. The tone see-saws wildly. What prevents it collapsing are the warm, heartfelt performances, together with Hirayanagi’s obvious affection for her chief protagonist. Time and again Setskuo shows herself to be brittle and unreliable; her sister thinks she’s unstable. Except that then, having thrown the woman’s life to the winds and her job to the gutter, the director belatedly steps in to lend a hand. She engineers a homecoming of sorts and a touching finale on a station platform that some will regard as a happy ending and others as a fresh step in life’s onward journey.

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Отрывки из филььма "О, Люси!",  смотреть обязательно!!!

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Отзыв о фильме от Anthony D'Alessandro

‘Oh Lucy!’: How Josh Hartnett Transformed Himself Into A Romantic Svengali – Cannes Film Festival

Josh Hartnett can always be relied upon for his action, leading macho man chops, i.e. in pics like Pearl Harbor and Black Hawk Down, and even the period Showtime cult fave series Penny Dreadful as the dashing Ethan Chandler.
But in Atsuko Hirayanagi’s Oh Lucy! the actor walks out of his box to play an affable, but goofy, English-language instructor in Japan, who possesses questionable methods when it comes to teaching. He draws a quiet office lady under his spell to the point where she transforms herself into the wild Lucy. When Hartnett’s John goes missing in Los Angeles, Lucy and her sister pursue him to the most despicable corners of the city.

Hirayanagi here says she based the character of Lucy on a shy person she once knew, coupled with her experiences as a U.S. foreign exchange student: “When I was speaking English and using my hands and body language, you feel like you’re a different person. Speaking English transforms you into a different person,” says the filmmaker who based Oh Lucy! off a short that actually played here at the Cannes Film Festival three years ago, winning the second place Cinefoundation prize.

While Hirayanagi didn’t know someone as provocative as Hartnett’s John in her life, the actor did. Who might that be? Well, an acting coach or two that Hartnett and his thespian friends have had run-ins with.

“A lot of acting coaches aren’t acting coaches,” says Hartnett about his inspiration for his Oh Lucy! role. “The more elaborate and the more absurd that they are, the more you buy into the effect that it’s having on you.” Hartnett expounds further in our interview above. Oh Lucy! is playing in Cannes Critics’ Week. Elle Driver is handling foreign sales, with UTA repping domestic.

Filed Under:
International Breaking News Atsuko Hirayanagi Cannes Film Festival Josh Hartnett Oh Lucy!

Джош Хартнетт о фильме

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Хочу это видеть!!!

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Фильм "О, Люси!" будет представлен на кинофестивале  21 сентября в Лондоне!  :flag:

BREAKING! international premiere #OhLucy! starring #JoshHartnett, is opening night film of the 25th Radiance Film Festival (Sept 21)London

Raindance Film Festival 2017 Line-Up Announced

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Людмила написал(а):

Фильм "О, Люси!" будет представлен на кинофестивале  21 сентября в Лондоне!  

BREAKING! international premiere #OhLucy! starring #JoshHartnett, is opening night film of the 25th Radiance Film Festival (Sept 21)London

Raindance Film Festival 2017 Line-Up Announced


Боюсь , и этот фильм разочарует

Ну нет для Джоша на данный момент сценария, чтобы меня зацепил)))Так жаль,,,

Да и сам он такой скучный, ему не интересно)))  Короче, бабло победило___
Для меня есть только два фильма, где он сам такой))) кайф ловит- Факультет и Слевин. Органичный , в глазах черти

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Ну , просто замороженный, мальчик 25-ти лет

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Отредактировано Makcy (2017-09-26 11:49:51)

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Makcy  :D

Makcy написал(а):

Ну , просто замороженный, мальчик 25-ти лет

Молодильные яблоки?

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Фильм добрался до прокатчиков! В северной Америке фильм покажут в первом квартале в не широком показе, как кино для семейного просмотра и цифрового видео. Это радует, т.к. изначально фильм снимался как артхаусный и кроме участия в специальных фестивальных показах, ему больше ничего не светило.

Josh Hartnett’s ‘Oh, Lucy!’ Lands at Film Movement for North America

Film Movement has acquired all North American distribution rights to Atsuko Hirayanagi’s feature-length debut, “Oh Lucy!”

The comedic drama, which premiered during Cannes Critics Week, stars Shinobu Terajima and Josh Hartnett. “Oh Lucy!” will be released theatrically in the first quarter with digital and home entertainment releases to follow.

Terajima portrays a single, emotionally unfulfilled woman in Tokyo until she’s convinced by her niece, played by Shioli Kutsuna, to enroll in an unorthodox English class that requires her to wear a blonde wig and take on an American alter ego named “Lucy.” She quickly develops romantic feelings for her American instructor, played by Hartnett, who suddenly disappears from class — leading her to journey to Southern California to track him down.

The film also stars Koji Yakusho and features cameos from Megan Mullally and Reiko Aylesworth.

“Oh Lucy!” began as the director’s 22-minute MFA thesis short, which won 35 awards including the Cinefoundation Selection at Cannes and the Jury Prize for International Fiction at Sundance. The script was the recipient of the Sundance Institute/NHK Award and Hirayanagi shot the film in 2016 in both Tokyo and Los Angeles.

Andrew Barker said in his review for Variety, “Terajima is irresistible in the lead role, shifting from painfully childlike vulnerability to rapier nastiness on a dime; in one late scene with Hartnett, she appears to age fifteen years in a matter of seconds.”

The deal was brokered by Michael E. Rosenberg, President of Film Movement and the UTA Independent Film Group on behalf of the filmmakers.

“Atsuko’s quirky east-meets-west story truly marks her as an exciting and original new voice in filmmaking,” said Film Movement’s Rosenberg.  “We’re honored to have the opportunity to release her feature-length debut in North America, and look forward to watching her blaze an original path in the industry.”

http://variety.com/2017/film/festivals/ … 202549717/

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Интервью с режиссером фильма Ацуко Хираянаги

Interview with Atsuko Hirayanagi, director of Oh Lucy!

Ahead of the UK premiere of Oh Lucy! at the Raindance Film Festival 2017 Opening Night Gala, we sat down with director Atsuko Hirayanagi to talk about the film.

Raindance: Why did you decide to adapt Oh Lucy! from a short film to feature, and what were the greatest challenges in doing so?

Atsuko Hirayanagi: I actually had the idea for the feature before thinking of the short. My then grad school professor told me… ‘no, that’s not a feature, it’s a short!’. I guess it was too ‘thin’ to be a feature. So, I wrote it as a short and shot it as my thesis film, in the back of my mind viewing it as the first twenty minutes of the feature. The greatest challenge of going from the short to the feature was not diluting the core story of Setsuko/Lucy.

I first compressed the idea into the short, and then expanded it to show what happens next. One inspiration for ‘what happens next’ came from a true story of a Japanese woman travelling alone to the Grand Canyon to celebrate her birthday. She was later found dead at the bottom of a small fall in the canyon. That woman’s trip to the US and the tragic component of that story resonates through multiple characters in the feature.

Setsuko is an unlikely protagonist – unstable, unfulfilled and a touch delusional. Was it important for you to portray such an unconventional female character?

As a storyteller, it is important for me to find and portray a character that I haven’t seen before on screen. Everyone has a story to tell and things to say, and I feel this is especially true of the quiet ones. I remember being asked during the admissions interview for film school, “describe a person in your life you don’t like”, and then the interviewer goes, “now make that person the protagonist in a movie, and tell me that story…” This question somehow stuck with me, so I often find myself looking for the unlikely protagonists.

Despite her character flaws, it’s impossible not to be endeared to Setsuko. What is it about her character that gets audiences to connect with her?

I believe that in the centre of things, at the very core, we are all the same. So if we dig into that core, I believe our fears are buried in there. If we’re open to showing these fears, being honest, we may be able to understand each other better — and just connect. We, humans, are often so weak; some of us are more disciplined and know how to hide our fears better than others. Some have better and thicker masks than others. But deep inside, we’re scared little chickens. Perhaps audiences connect with Setsuko because they see some of those raw and unmasked moments, and can relate to her fears.

Setsuko tries to conform to an “American way” of living, which eventually leads to her downfall. Is the film acting as a cautionary tale of the possible repercussions of living in an increasingly globalised world?

Wow, such an intimidating question! I feel like a PhD thesis student right now! I simply used ‘America’ as a device to stretch Setsuko as far away and opposite direction as possible from her Japanese self. ‘Freedom’ is the word associated with America for me, ever since I remember it as a kid. It’s okay to laugh loudly, and it’s okay to put your feet on your desk (right or wrong!). That’s America, which is completely the opposite of Japan. I wanted to unleash Setsuko by giving her that freedom and see how far she would go. I personally don’t see this process as her downfall, as long as she can find her center, which is neither Lucy, nor the quiet office lady, Setsuko.

After a period of intense suffering for Setsuko, the film ends with a train approaching the platform she’s standing on. Does this ending signify a new beginning for her?

Spoiler alert? Yes, this is the first time in her life she’s confused and being honest. She’s facing her fears, asking the question …who am I? Sometimes if we don’t destroy something, nothing new will be born.

How did Megan Mullally’s cameo come about?

It was luck! She’s with the same agency as mine and one of our producers just finished a film with her, so we sent her the script. She read it and said yes! We couldn’t believe it. She’s super cool, down to earth, and obviously an extremely talented artist. She makes acting look so easy. I wish we could have all her scenes. She is hilarious. We should put them in the DVD.

Given the film is about a clashing of cultures, have you noticed audiences reacting differently to it around the world?

I feel like I haven’t seen enough reaction from audiences to answer this question yet. For the short film however, the reactions were definitely very different in different countries. People would laugh at different parts of the short, even when there was no specific comedic intent for it. The universal question that came out was what would Setsuko do next.

What projects are you working on next?

I’m working on a couple of originals that I am not ready to discuss, but it feels so good to be writing again. I’m also considering projects that are not mine, but have similar DNA, kind of tragic and funny at the same.

Book your ticket for the premiere of Oh Lucy! at the Opening Night Gala of Raindance Film Festival 2017, followed by a Q&A with Atsuko Hirayanag and star Josh Hartnett and an after party.

Ссылка

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Фильм "О, Люси!" показали на 19 ежегодном кинофестивале в Мумбайи, фестиваль проходил с 12 по 18 октября.

Firstpost Picks: Films to watch on Day 1 of Jio MAMI 19th Mumbai Film Festival

The 19th edition of the Jio MAMI film festival is finally here, and there is so much to look forward to if you're a cinephile with unusual tastes! From off-beat Indian stories to international films that you may never have heard of, the festival can expose you to many types of cinema.

The lineup is extensive, and the thought of checking out each film can be exhausting, so Firstpost will provide you with a list of must-watch films that will help you narrow down your choices, every day.

Oh Lucy

This American-Japanese comedy-drama received rave reviews at film festivals such as the Cinéfondation jury at Cannes, but very few know that it started out as director Atsuko Hirayanagi's film school project. It stars Shinobu Terajima and Josh Hartnett and captures the unlikely love story between a Japanese woman who decides to take English classes and her instructor. She develops feelings for him, and after he leaves unexpectedly, she follows him to South California.

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Oh Lucy! Review: Jio MAMI Mumbai Film Festival 2017

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Новый, Расширенный трейлер

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Новый французский постер

http://s5.uploads.ru/t/9Fi0M.jpg

https://twitter.com/jhartnett_forum

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Рецензия на фильм от Den of Geek
Четыре звезды из пяти!

СПОЙЛЕРЫ!

Oh Lucy! review

Caroline Preece Oct 18, 2017

Oh Lucy, starring Josh Hartnett, was a highlight of the Raindance Film Festival. Here's our review...

The stifling loneliness of city life is not an unexplored topic. A largely modern problem for the developed world we’re only really able to get to grips with through art and film and music, the isolated feeling of being alone in a crowd is a good narrative jumping off point precisely because everyone in the audience has likely experienced it at one point or another.

But Oh Lucy!, an independent Japanese production from debut feature writer and director Atsuko Hirayanagi, tackles the familiar subject matter better than most, combining pathos, comedy and a bunch of great performances to create something truly special and ultimately moving.

Setsuko (Shinobu Terajima) is a middle-aged office worker living a lonely life in Tokyo. When her niece Mika (Shioli Katsuna) asks her aunt to take over English classes she’s paid for, Setsuko is opened up to a whole other world. John (Josh Hartnett), her teacher, gives her the new and exciting identity of Lucy, complete with blonde wig and lazy American pronunciation, and she’s hooked. When John and Mika use the money to move to Los Angeles, feeling lost, she follows them.

Through its lead character, the film taps into a universal desire to escape from our lives when we realise we’re not what we dreamed we’d be. The film starts with a random suicide at the train platform, and we quickly realise that such incidents are so frequent that a co-worker thinks nothing of telling Setsuko “I haven’t witnessed one yet’.

Setsuko’s daily life consists of waking up alone in her tiny, cluttered apartment and going to work at an office so generic that it’s been deliberately given a more muted, grey colour palette than the rest of the film. She doesn’t speak with her uptight sister, and she doesn’t appear to have any friends. When John shows her kindness before taking it away, she understandably pursues the only thing that’s made her feel alive.

But this isn’t a love story, or if it is it’s between Setsuko and Lucy. She herself mistakes her desire to be someone else with a desire for someone she barely knows, and this disconnect manifests itself earlier in the film with a tirade of insults aimed at a co-worker that could just as well have been directed at her. Setsuko isn’t necessarily a protagonist we want to root for, but she’s always fascinating to watch.

Beginning life as a short film, Oh Lucy! comes into its own when it extends beyond that initial premise and takes us to the underwhelming sunshine of Los Angeles. While under the fluorescents of what we can only assume is a converted brothel, John was a kind and exotic gatekeeper to a more enticing world, but in his natural habitat he quickly becomes his real self - an opportunistic loser.

It’s here you realise what a genius bit of casting Hartnett is, lending his easy charm and familiarity to a global audience to a role that could have been pretty hateful in another’s hands. His motivations are left vague, but various hints at his backstory paint an unflattering picture.

Despite the somewhat heavy subject matter, the film is still a comedy at its heart. It takes a deft hand to combine the two, and Hirayanagi is helped along with an incredibly strong turn from Terajima.

Oh Lucy! isn’t a perfect film, losing its way in the third act before signing off with a simple and effective final shot, but as a character study of a deeply flawed woman, it’s almost unique. We simply don’t see these stories of older women told in Hollywood, and maybe it takes an outside voice to break through that barrier and bring us a story as absorbing and surprising as Setsuko’s.

Oh Lucy played at the Raindance Film Festival. When we have a UK release date, we'll pass it on.
4/5

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Oh Lucy ! - la critique du film

Cette version longue d’un court-métrage primé à la Cinéfondation ne manque pas de charme dans son jeu sur le langage et le choc des cultures. Malgré des baisses de régime, le film se laisse voir et est porté par des interprètes inspirés.
L'argument : Setsuko mène une vie solitaire et sans saveur à Tokyo entre son travail et son appartement, jusqu’à ce que sa nièce Mika la persuade de prendre sa place à des cours d’anglais très singuliers. Cette expérience agit comme un électrochoc sur Setsuko. Affublée d’une perruque blonde, elle s’appelle désormais Lucy et s’éprend de John son professeur ! Alors, quand Mika et John disparaissent, Setsuko envoie tout balader et embarque sa sœur, dans une quête qui les mène de Tokyo au sud californien. La folle virée des deux sœurs, qui tourne aux règlements de compte, permettra-t-elle à Setsuko de trouver l’amour ?
Notre avis : Le film est une « extension » du court-métrage singapourien éponyme primé à la Cinéfondation du Festival de Cannes en 2014. Co-production américano-japonaise, Oh Lucy ! le long métrage s’inscrit dans la lignée des œuvres ayant abordé la confrontation entre les cultures occidentale et nippone, du Pont de la rivière Kwaï à The Pillow Book et Lost in Translation en passant par Furyo et Stupeur et tremblements. Si le film d’Atsuko Hirayangi est loin de valoir ces modèles et s’inscrit plutôt dans un registre mineur, il n’en distille pas moins un charme réel, qui tient à son ton décalé, un mélange des genres déconcertant mais audacieux, ainsi qu’un scénario se jouant des clichés linguistiques et sociétaux pour mieux les contourner. La première partie est la plus réussie, avec sa description d’un certain univers aseptisé japonais (le lieu de travail de Setsuko, les quais de métro sur lesquels patientent des usagers dociles et masqués), qui va contraster avec l’excentricité du cours d’« anglais américain ».
Atsuko Hirangi part du principe que l’apprentissage d’une langue étrangère passe par l’adoption d’une autre personnalité. Aussi, Setsuko se conforme sans rechigner à ce jeu de rôle, se laissant griser et duper par les gestes conviviaux de son formateur, au point d’adopter un comportement de midinette qui risque de lui être fatal. Dans les quarante-cinq premières minutes du film, la réalisatrice concocte ainsi des scènes de comédie cocasses, imprégnées de gravité, alors que les scènes dramatiques à venir seront quant à elles nuancées par une tonalité fantaisiste. Ce décalage est une qualité, mais tourne un peu en rond lorsque notre amoureuse décide de s’envoler pour Los Angeles, flanquée d’une sœur avec laquelle elle entretient une relation presque aussi conflictuelle que celle unissant Bette Davis et Joan Crawford dans Qu’est-il arrivé à Baby Jane ?
Car là, le récit se fait plus pesant et s’enlise dans les travers d’un certain cinéma indépendant américain, essayant d’imiter (en moins bien, forcément) des œuvres signées naguère Susan Seidelman ou Steve Buscemi. Ceci dit, Oh Lucy ! reste un attachant portrait de femme en proie à la crise de la cinquantaine, et est bien porté par des acteurs inspirés, à commencer par Shinobu Terajima, l’héroïne du Soldat bleu de Koji Wakamatsu. Elle est bien épaulée par Kôji Yakusho, qui fut l’interprète de L’Anguille de Shohei Imamura, et surtout Josh Hartnett (Pearl Harbor), étonnant dans un registre éloigné de ses habituelles prestations.

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гугл перевод с французского, СПОЙЛЕРЫ!!!

О Люси! - критика фильма
Эта длинная версия удостоенного наград короткометражного фильма Cinéfondation очаровательна в своей игре на языке и столкновении культур. Несмотря на замедление, фильм позволяет себе видеть и переноситься вдохновленными переводчиками.
Аргумент: Сецуко ведет одинокую, безвкусную жизнь в Токио между своей работой и ее квартирой, пока ее племянница Мика не убедит ее заняться своим местом в необычных английских классах. Этот опыт действует как электрошок на Сецуко. Пострадавшая от светлого парика, теперь ее зовут Люси и влюбляется в Джона, его учителя! Затем, когда Мика и Джон исчезают, Сецуко отправляет все, чтобы ходить и отправляет свою сестру в поисках, который ведет их из Токио в южную Калифорнию. Будет ли сумасшедшая поездка двух сестер к поселению очков позволит Сецуко найти любовь?
Наше мнение: фильм является «продолжением» одноименного короткометражного фильма Сингапура, который был вручен на кинофестивале Каннского кинофестиваля в 2014 году. Японско-американское совместное производство, О Люси! художественный фильм соответствует работам, которые противостояли конфронтации между западными и японскими культурами, от моста реки Квай до книги «Подушка» и «Lost in Translation» через Furyo, Stupor и Tremor. Если фильм Ацуко Хираянда далек от того, чтобы быть достойным этих моделей и, скорее, в небольшом регистре, он все еще отличает настоящий шарм, который обусловлен его необычным тоном, смешением отвратительных, но смелых жанров, а также что сценарий играет лингвистические и общественные клише, чтобы лучше обойти их. Первая часть - самая успешная, с ее описанием определенной японской санированной вселенной (рабочее место Setsuko, платформы метро, ​​на которых пациентские пользователи покорны и замаскированы), что будет контрастировать с эксцентриситетом учебного курса. «Американский английский».
Ацуко Хиранги предполагает, что изучение иностранного языка предполагает принятие другой личности. Кроме того, Setsuko соглашается, не жалуясь на эту ролевую игру, позволяя себе опьянять и обманывать дружелюбные жесты своего тренера, вплоть до принятия полуночного поведения, которое может быть фатальным. В первые сорок пять минут фильма режиссёр придумывает комические сцены комедии, проникнутые гравитацией, в то время как драматические сцены будут притуплены причудливым тоном. Этот пробел - это качество, но он немного крутится, когда наш возлюбленный решает отправиться в Лос-Анджелес, в окружении сестры, с которой у нее отношения почти такие же конфронтационные, как и тот, кто объединяет Бетт Дэвис и Джоан Кроуфорд в «Что он пришел к Бэби Джейн?
Потому что там история становится тяжелее и увязнет в каком-то американском независимом кино, пытаясь подражать (в менее хороших, обязательно) работах, подписанных ранее Сьюзан Зейдельман или Стив Бушеми. Тем не менее, О Люси! остается восхитительным портретом женщины в середине пятидесятых годов и хорошо носится вдохновленными актерами, начиная с Синобу Теражмы, героини Синего солдата Коджи Вакамацу. Ее хорошо поддержал Кодзи Якушо, который был переводчиком L'Anguille Shohei Imamura и особенно Джоша Хартнетта (Pearl Harbor), удивляя в отдаленном реестре своих обычных преимуществ.

И новый, фестивальный трейлер фильма

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Премьера фильма О, Люси! / Oh Lucy! во Франции состоится 30 января 2018г.

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https://twitter.com/SabaMelodie

Когда, ну когда же, и мы сможем посмотреть фильм " О, Люси!"!!!???  Кажется, я, после @Penny Dreadful@, ни одного фильма не ждала с таким нетерпением!
http://forumfiles.ru/files/0000/0e/cb/11831.gif http://forumfiles.ru/files/0000/0e/cb/11831.gif http://forumfiles.ru/files/0000/0e/cb/11831.gif

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Людмила написал(а):

Премьера фильма О, Люси! / Oh Lucy! во Франции состоится 30 января 2018г.

https://twitter.com/SabaMelodie

Когда, ну когда же, и мы сможем посмотреть фильм " О, Люси!"!!!???  Кажется, я, после @Penny Dreadful@, ни одного фильма не ждала с таким нетерпением!

Пожалуй также, но не после Сказок, а "На глубине 6 футов ") а Сказки посмотрел только один сезон :tomato: , но в планах пересмотреть все с самого начала)

Отредактировано Игорь1988 (2018-01-07 15:29:13)

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Игорь1988 написал(а):

Пожалуй также, но не после Сказок, а "На глубине 6 футов ") а Сказки посмотрел только один сезон :tomato: , но в планах пересмотреть все с самого начала)

Игорь1988
http://forumfiles.ru/files/0000/0e/cb/13471.gif Страшные сказки пересмотреть- хочу-хочу! Ну почему каникулы празднично-новогодние так быстро кончились! Начну смотреть, затянет, все заброшу, окружающие пострадают))) Может, в предстоящий старый новый год?

Мировая премьера фильма "О, Люси!" состоится 22 мая 2018г., может и у нас в прокате появится? http://forumfiles.ru/files/0000/0e/cb/11831.gif

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Из интервью Джоша Хартнетта , данного на миланской неделе моды в Италии 14 января 2018г.

Josh Hartnett Attends DSquared2 Fall Show
The actor described his latest film "Oh Lucy!" as a road trip from Tokyo to the South West

By Luisa Zargani on January 14, 2018

OH JOSH: Josh Hartnett did not only enjoy filming “Oh Lucy!,” he also liked talking about it at the Dsquared2 show. “It’s about these older Japanese women on a road trip from Tokyo to the Southwest. It’s about what’s underneath the surface and how different it is from what is perceived. It’s very funny, too,” said Hartnett, who flew into Milan from London, where he has been living for the past few years.

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Новости!
Сегодня в Париже состоится предварительный показ фильма "О, Люси!", в присутствии Джоша Хартнетта!!!
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Ce soir à l'@UGCcinemas Les Halles et demain à celui de Bercy, avant-première de #OhLucy! en présence de Josh Hartnett 😀

https://twitter.com/Anthony_Bateman

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Премьера фильма "О, Люси!" 31 января во Франции!!!  :flag:  :flag:  :flag:

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Film Review: Oh Lucy!

By Brigette Ginter

Directed by Atsuko Hirayanagi
Written by Atsuko Hirayanagi, Boris Frumin
Starring Shinobu Terajima, Josh Hartnett, Kôji Yakusho, Kaho Minami, Shioli Kutsuna
Country: USA, Japan
Rating: 3.5 / 5

Oh Lucy! tells the story of Setsuko (Shinobu Terajima), a middle-aged Japanese admin worker stuck in the daily grind of Tokyo life.  All the predictability of her life changes when she begins to take English classes, coerced into it by her niece, Mika.  Under the tutelage of John (Josh Hartnett), an unconventional teacher of ESL with questionable methods, Setsuko begins her “studies.”

In her first class, John encourages Setsuko to take on the personality of Lucy, complete with a blonde curly wig.  According to John, “when you are in class, you are Lucy, not Setsuko.”  Unlike the reserved Setsuko, Lucy is a “fun girl that likes to have a good time.”  John’s methods include prolonged hugs and teaching his students to speak “lazy” American English.

As we might guess, Setsuko develops a crush on John.  When John suddenly disappears, Setsuko sets out to find him, leading her on a journey to a variety of unglamorous locations throughout Southern California.  During the film, Setsuko seems to be progressively unraveling, emotionally and mentally.

Shinobu Terajima does a wonderful job demonstrating the isolation and midlife crisis that her character is experiencing.  Josh Hartnett does a strong job playing an initial nice guy that has deadbeat undertones.

The film has a handful of extremely uncomfortable moments and seems to balance humorous episodes with moments of tragedy.  For not a very long film, (1hr 35min), the film certainly does cram in a lot of events.

Although enjoyable, I did wish the film had a bit more substance.  It seemed to have the potential but fell a little flat.

Oh Lucy! is playing at the Santa Barbara International Film Festival on Sunday (Feb 4) at Metro 4 Theatre at 2:40 p.m.

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Oh Lucy! Movie Review

By Harvey Karten

LUCY!

Film Movement
Reviewed by: Harvey Karten
Director: Atsuko Hirayanagi
Screenwriter: Atsuko Hirayanagi, Boris Frumin
Cast: Shinobu Terajima, Josh Hartnett, Kaho Minami, Koji Yakusho, Shioli Kutsuna, Megan Mullally, Reiko Aylesworth
Screened at: Critics’ Link, NYC, 1/18/18
Opens: February 23, 2018

In Japan where suicide is not looked upon as an entrance to an eternity in hell, we may wonder if occasionally the principal character in Oh Lucy! might be a candidate for oblivion. She’s a sad sack, working as a data-processor in a claustrophobic office, seeing her future in the form of an elderly spinster whose retirement party she attends. With a mean spirit, she assures the new retiree that behind her back her colleagues call her a fat pig and a waste, and her testiness will emerge later with her sister. Her home life is worse. Lucy might seem an odd name for a Japanese woman (played by Shinobu Terajima) but we find out soon enough how she got this nom de étudiante though she spent some forty years as Setsuko. The woman, a spinster in her forties with little hope of a lasting relationship with a man, certainly tries her best anyway, and in the hands of director and co-scripter Atsuko Hirayanagi in her freshman full-length feature which has been expanded from a 22-minutes thesis short, we can accept that a movie starting as absurdist comedy turns to melodrama and even tragedy.

The film will probably benefit from the casting of Josh Hartnett as John, a teacher of English in Tokyo, who has an unusual way of loosening up his Japanese students. Recognizing that Japan is a more rigid and conservative society than Los Angeles where he lives, he starts by hugging new pupils (which would probably get him bounced on the spot in today’s Me-Too America) but is tentatively accepted, even sought by his charges. That’s not all. To make students lose their Japanese self-consciousness, John fixes Lucy up with a wig, a whole new identity. Yet when the teacher, on whom she has a crush, leaves the school suddenly to return home to L.A. with Lucy’s young and pretty niece Mika (Shiloi Kutsuna) in tow, Lucy, that is Setsuko, gets a vacation and travel to the coast of continue her relationship but has to put up with her dragon of a sister Ayako (Kaho Minami) yapping behind her in search of her daughter.

The film starts with a suicide: a passenger grabs Setsuko, whispers “Goodbye,” and jumps in front of the train, a scene that may foreshadow miserable times ahead for Setsuko, her brittle sister, and even the young niece. “Oh Lucy!” thematically contrasts Japanese customs with those of the most laid-back of Americans (SoCal), the chance for a new life and a new identity, and the perpetual hunt for love that defines any society that does not keep the tradition of arranged marriage. There is a revenge motif as well: Setsuko’s sister way back stole her boyfriend, who became no more than her brother-in-law, a situation that does not help to make blood sisters sing Kumbaya to each other.

The director with the help of co-writer Boris Frumin adds a clumsy scene in a car where John and Setsumo act like two spontaneous teens, and the film concludes on a sad note showing the difficulty of romance across the Pacific when the couple know little of each other’s native language. There is not much chance for hope to bear fruit. The picture ends not with a sentimental tug but with the ambiance of a downer.

Unrated. 95 minutes. © 2018 by Harvey Karten, Member, New York Film Critics Online

Story – B
Acting – B
Technical – B+
Overall – B

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