We Want Short Shorts

When I watched the first ambitious compilation of short films by Japanese Filmmakers, Jam Films, I thought the whole thing was pretty uneven, but altogether okay. Yukihiko Tsutsumi (who directed the very interesting Chinese Dinner) made something darkly funny, Ryuhei Kitamura (Versus, Azumi) made something cool, George Iida (Another Heaven, Dragonhead, and the forgotten Ring sequel Rasen) made something very, very strange, Isao Yukisada (Go)made something nice, Shunji Iwai (Swallowtail, Love Letter) made something cute and quirky (which is kind of a given since he had Ryoko Hirosue in it.) However, I was pleasantly surprised that my favorite of the eight shorts was not from any of these directors that I knew, but by someone I was a bit unfamiliar with - Tetsuo Shinohara's Kendama, a light slightly romantic comedy that entertained me a bit. (He would later go on to direct Heaven's Bookstore, a film that I have, which makes me naturally want to watch it.)

The follow-up to this production, Jam Films 2, presents us with some works by up and coming directors, in contrast to the established directors we saw in its predecessor. Instead of six films, we get four 30-minute shorts for our viewing pleasure.

Junji Kojima's "Armchair Theory" (pictured top right) was for me the most entertaining of the four shorts. It is told in a video presentation on the subject of 'kosai' -literally dating, among Japanese people. Quirky and refreshing, it elicited many a laugh from this moviegoer.

Eiki Takahashi's"Clean Room" (pictured top left) is full of beautiful visual symbolism and interesting little nuances that may warrant discussion - if you manage to remember the film after you watch it. Not much really happens in the film that manages to get you. The ambience reminded me of the ambiance from Tatsuya Ishii's 1996 film ACRI - kinda slow, full of pretty images.

Hide Inoue's "Hoops Men Soul" (pictured bottom right) is about how a bakery boy is helped by a gang of street hip-hop guys to save his girlfriend from the clutches of an evil debt collector. It starts out pretty nicely and it has a lot of interesting characters, but it doesn't dwell on them too much. Also, the camera techniques Inoue's cinematographer uses kinda makes it hard to focus on the action, whenever it happens. Inconsequential, but it managed to get a few laughs from me.

The antholog ends with Kouki Tange's "Fastener," (pictured bottom left) inspired by the Mr. Children song of the same name. A dying man remembers a childhood kiss, probably his first, and engages in a long series of dreams, memories and visions, aided by a stunning visual style that can be at times cool, or at times even unnerving. I had seen the Music Video that the short was based on; I wish I could see the original material again.

Also, watch out for a brief cameo by Eihi Shiina (best known from her role in Audition) sometime during the middle.

All in all, this new compilation is a bit better than the first one, quite impressive for works from up-and-coming directors. I look forward to Jam Films S, the newest addition to this short film anthology series, coming out this year.