Film: We Are Little Zombies
Starring: Keita Ninomiya, Mondo Okumura,Satoshi Mizuno
Director: Makoto Nagahisa
Rating: ***1/2
Reviewer: George Sylex
Overview - It's nothing unexpected why We Are Little Zombies won the World Cinema Dramatic Special Jury Award for Originality at the Sundance Film Festival. Like an addictive computer game become animated and blasting at the edge with shading and sound, We Are Little Zombies is one of the most inventive and fun movies of the year.
We Are Little Zombies recounts to the tale of four stranded Japanese teens Hikari (Keita Ninomiya), Ikuko (Sena Nakajima), Ishi (Satoshi Mizuno), and Takemura (Mondo Okumura) who are bereft of feeling. It doesn't make a difference that their folks passed on in repulsive manners – auto collision, self destruction, fire, and murder – the youngsters have never lamented, never at any point shed a tear. They conclude that their new typical, which is currently without power, is a way of life they appreciate and with their freshly discovered feeling of opportunity, choose to shape a pop-electro band. What else would one do?
The Little Zombies is Makoto Nagahisa's first full length film, however, you'd never surmise that from watching it. This movie has none of the peculiarities of a first-time screenwriter, however, rather figures out how to be without a moment's delay creative, confident, and mentally shrewd. The Little Zombies is genuine, yet, in addition mindful, exuberant without being excited, and works in an assortment of visual styles, including a gesture to super-modest computer game designs. It's also exceptionally clever, with Hikari's self evident actuality portrayal just expanding the silliness of his odd perceptions.
The teenagers' indifferent mentalities give the film its hazily comical energy and joined with the in fact propelled camera movements and excessively wanton and many-sided sets, We Are Little Zombies is a true to life accomplishment. It resembles Edgar Wright's Scott Pilgrim versus the World or a Wes Anderson film on some acid. Kudos to Makoto Nagahisa, who created the film as well as credited as the screenwriter and contributed the music. I couldn't want anything more than to go through a day inside his mind.
In We Are Little Zombies, Nagahisa also goes up against the hackneyed female job in an adventure movie. Without a ring finger, Ikuko is a young lady who can't be possessed, even as her male partners sneak for her warmth. Depicted as a femme fatale, her numb articulations are prime instances of how men mirror their wants on ladies: she's a mother and a sweetheart, an object of unadulterated sexual want to these young men, however in reality, is none of those things. She dismisses those monikers, rather, existing as her own entity.
The second half of the movie changes to a melodic frame, with the four composing a number entitled "Little Zombies." They before long become sucked into the unforgiving and exploitative commercialization of the music business, a business that exploits their particular awful backstories to sell records. The contention of bigger catastrophes prompting snappy and insipid business offer, which can be found in a film like Vox Lux, is played to an increasingly funny impact here.
Final Word - We Are Little Zombies is a multicolored representation of a reality where feelings are gotten to and uncovered essentially through computerized delegates. It's a fortitude completion to an amazingly practiced directorial debut.
The trippy film you'll see this year!
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