Taichi Kimura makes a powerful directorial debut with ‘Afterglows’ ‘Afterglows, a black and white feature film based on the screenplay of Ryosuke Asano, Takuma Hiramatsu, and Yasuhiro Kim is a co-production of Japan and Singapore. It made its first international appearance on the palm shores film festival. Taichi Kimura’s film a fusion of distinctive ARRI invader and panoramic lenses, along with delicate S-16mm grain, portrays a sympathetic narrative: the death of a beloved infant in a tragic and extraordinary process. Kimura’s film made waves with its peculiar aesthetics and compelling awardwinning storyline. Afterglows is perhaps Tisha’s first post Armistrong feel Did you say passenger Akira now?.
As the protagonist, “As a taxi driver by the name of Akira Morishs,” Akira is tormented over the loss of his ex-girlfriend and pop singer Sayuri Komatsu, who apparently inflated toxicity damage. Akira is said to feel remorse over Komatsu’s passing, apparently due to her’s Akira’s work, fanciful poems mediating the essay “Afterglows,” say painting kisoka her beloved invoked more of a vesicatory repertoire They do normal everyday tasks that bring them further to the abstract and get the cutting edge motor corporeal pull. As A says he components love to swarm, swarm, and swarm. Asala desires p can’t believe and gets dependent on Akera, even while trying desperately to shout out of the healing process.
While changes in plot and the style may look somewhat familiar, “Afterglows” is still full of surprises. It does well also with its psychological drama and without flinching addresses the issue of mental health. The viewers are placed inside the mind of the dysfunctional protagonist of the movie who evolves from an ordinary person to a walking time bomb. The starting part of the film is designed to mislead the viewers into expecting a redemption plot in which the protagonist grows after the traumatic experience. But slowly it dawns on the audience, it’s a horrifying tale of obsession and as the madness intensifies further, this reality is more skewed, and so is Akira’s ethical compass. Ultimately, the question becomes which part is the truth and which is an invention. The decreasing ratio of morality can surely be aided by the rumors regarding the suicide of his lover in tabloid magazines or one of his clients who looks a lot like his late girlfriend. The film’s director is also able to enter with the audience’s expectation of brutality.
Kentez Asaka, who plays Akira Morishima, has delivered a gut-wrenching performance which depicts Grace Morishima’s downfall in detail. Akanksha Arora sports a tumultuous character with outstanding hand to hand combat, emotion, and depth. His chemistry with various characters including Hakamada, a regular at Asaka’s, makes for clean interaction as all actors portraying various characters do complement Asaka’s performance, including Akira Koieyama. Megumi also delivers a great character analysis of Tooru’s supporting girlfriend who takes on the name of Sayuri Komatsu, and the woman he dates Chisayo Nagayama. The United Nations tackles the impact of globalization within the film from both a personal and social perspective.
Acting and environment is a crucial part of the craving insanity that this movie strives to achieve and “Afterglows” achieves that in plenty. Akira Morishima serves as a co-narrator alongside Tokyo. Uehara’s assemblage of creative lighting and colorful atmospheres in tandem with then Thomas Yardley, ZAKINO and Hiroyuki Onogawa’s music accomplish that merged feeling.
Taichi Kimura has done a wonderful job with his feature debut “Afterglows”. The film’s concept is frightening yet interesting, as well describes all facets of the psyche of a traumatized person. The atmosphere of the picture and Kentez Asaka’s stunning performance are the film’s main strengths.
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