Ever since his debut, director Kazuyoshi Kumakiri has make movies that depict protagonists who have been driven to the fringes of society, which is also revealing of the society from which they have been driven. In Kichiku it was the United Red Army, in Hole in the Sky it was a middle-aged man's Oedipus complex, in Antenna it was a self-abusing youth, and in Green Mind, Metal Bats it was an ex-high school baseball player who keeps on swinging and a cop whose pistol is always leaving its holster...
In this, his latest film, that protagonist takes the form of Nonko, a mid-30s, once-divorced woman who is utterly lacking in ambition. She has returned to her parent’s home to help with domestic chores in the Shinto shrine that her family heads.
It's reasonable to expect that following this, a woman in her mid-30s might perhaps marry and become a mother, or begin to develop a career with certain prospects for the future... But if she does not fit into either category, what will become of her?
The way of life of this mid-30s woman is presented in the same unrelenting manner as Kichiku, as she eats, experiences a general sense of being ill at ease, has sex, and kills time within the real-time world that forms the foundation of this film. Even the sex scenes have a rawness that results from being filmed in one continuous take, from the initial advances to the culmination.
It could be referred to as a kind of female version of the awkward love story seen in Hole in the Sky, as Kumakiri shows us a new aspect of himself. Compared to Hole in the Sky, which was brimming with the 100% earnestness of a middle-aged man (or had it reverted to zero?), this movie feels even more wretched, and although the ending provided is not the happy one of a Hollywood movie, it's not long before we find that a resolution to live has come into being within us. Kumakiri possesses a certain Asian sensitivity that allowed him to portray this woman. In the same way that plants unknowingly strive towards the sun, we find that humans also have residing within them a positive strength that can be magnificently drawn upon.
Nonko is a once-divorced woman in her mid-30s. She has returned home to the Shinto shrine that her family runs, and helps out with domestic chores. Nonko, who has little ambition, encounters a young man named Masaru. He has great expectations about selling chicks at the shrine festival. He is rather naïve and pitiable, but this earnest and straightforward younger man puts a smile back on her face, and she gradually becomes more emotionally and physically receptive...
This is the 7th film of director Kazuyoshi Kumakiri, who made his forceful debut with Kichiku. Based on a draft by Kumakiri and a screenplay by Takashi Ujita, this original story is a realistic portrayal of a bitter woman in her 30s. Kumakiri relishes in portraying humans at their lowest, resulting in this film of an awkward love story that surpasses even his previous film, Hole in the Sky. The leading role of Nonko is played by Maki Sakai, a popular actress who constantly challenges herself. She put on huge breasts in Kumakiri's movie, Green Mind, Metal Bats, and was deranged in Koji Wakamatsu's popular film, Red
Army. In the present film she realistically portrays the complexity of a woman in her 30s.
Kumakiri was relentlessly demanding of Maki Sakai during filming, but in an absolutely loving way.
It makes us look forward to tomorrow just a little bit more.
Nobuko tried to be successful as an actress in Tokyo (stage name Nonko), but wasnt popular. She married her manager and soon divorced. Now a once-divorced woman in her mid-30s, she returns home to the Shinto shrine that her family runs, to help out with domestic chores. Her father is always in a stubborn rage, her mother is always trying to calm things down. However, Nonkos married sister, who already has a daughter, scathingly says of Nonko, Its all over for her.
Theres no place to run to and no place to belong, just a backwards little country town. The only thing to do is ride her bicycle to her friends bar to drink with the owner, another divorcee. She cant remember the last time she got dressed up or had sex.
Nonko, who is totally lacking in ambition, encounters a young man named Masaru. He has great expectations about selling chicks at the shrine festival. Nonko ends up taking him to the house of Yasukawa, who allots space for festival stalls. Masaru is rather nave and pitiable, but this earnest and straightforward younger man puts a smile back on her face, and she gradually becomes more emotionally and physically receptive, until her ex-husband, Udagawa, makes his appearance.
Nonkos heart begins to tremble.
Among the infinite elements that are involved in a movie, I consider my encounter with the actors to be the most important by far. I dont know how professional this is, but to be frank, this can make or break a movie. This time it involved the encounter with one actress. This movie could not have been done without her.
That actress is Maki Sakai.
In Green Mind, Metal Bats her role required putting on huge breasts, and in my previous film, Freesia: Bullet Over Tears, her role involved being cruelly beaten to death during the first five minutes. Most actors would get angry if offered such a role, but Sakai cheerfully accepted the role.
I couldnt stop thinking that I should make a film starring Sakai. I dont know if he knew of this feeling or not, but Toshiki Kimura, the producer of Green Mind, Metal Bats, said to me, Maybe we could make a movie with Sakai about men and women? As luck would have it, Id already generally put together a short plot summary. Actually, this became The Volatile Woman as part of the love collection project that I made some years ago, but at the same time I had the idea for another plot. The screenwriter, Ujita, and I were thinking about taking on the challenge of making a movie about women. It didnt happen at the time, but it has had a place in my heart ever since.
Sakai went along with this proposed plot, and NON-KO quietly developed out of this.
But the way here hasnt been all that smooth. There were all kinds of upsetting difficulties along the way. I often considered drowning myself in the Tama River... But even in those difficult times, Sakai always had confidence in me. Sometimes she had to give me a little push. As a reward for such support, I abused Maki Sakai to my hearts content during filming, in an absolutely loving way.
As a result, I have succeeded in completing my most important film to date.
Kazuyoshi KUMAKIRI: Director
Born in Obihiro, Hokkaido, in 1974. His Osaka University of Arts graduation piece, Kichiku, was awarded the PFF 97 Second Prize, and won the top prize at the Taormina Film Festival in Italy. It was a major hit in theatrical release. His second movie, Hole in the Sky, was shown in the Rotterdam and Berlin Film Festivals Forum section. In the Venice Film Festival Controcorrente (against the stream) section, he attracted attention for Antenna. Actively releasing movies one after another, he has received much attention both inside and outside Japan.
Filmography : Kichiku(Kichiku Daienkai)97 (director, script, editing), A Hole in the Sky (Sora no Ana) 01 (director, script), Antena 04 (director, script),The Volatile Woman(Kihatsusei no Onna ) 04 (director, script), Furijia: Bullet Over Tears (Freesia) 06 (director), Green Mind, Metal Bats(Seishun Kinzoku Batto ) 06 (director), NON-KO(Nonko Sanjurokusai Kajitetsudai) 08 (director).
Maki SAKAI : Nobuko Bando(Nickname: Nonko)
Born in Tokyo, 1970. Made her debut in 92 in the TV drama. Following that, she appeared in numerous movies and was active in theater. She made her movie debut in Yuri (96), and the same year starred in OL Chushingura Mukatsukuzei. Recent works include Dolphin blue: Fuji, mou ichido sora e (07), Hatsukos World (Akai bunka jutaku no Hatsuko) (07), The Red Army (08), Biru to dobutsuen(Building and Zoo) (08), Deadly Blue (Shinizokonai no Ao)(08) and other releases. She will be in the soon to be released ACACIA (09). She has own world view, and can take on roles that range from serious to comic. Her three Kumakiri movies are Green Mind, Metal Bats (06), Freesia: Bullet Over Tears (07) and NON-KO.
Gen HOSHINO: Masaru
Born in Saitama Prefecture in 1981. Actor, musician, composer, writer, etc.,having written novels and essays, generally a very gifted person. As far as movie acting, he appeared in 69 sixtynine, Shonen merikensakku, and now his third movie, NON-KO.
Shingo TSURUMI: Nonkos ex-husband, Udagawa
Born in Tokyo in 1964. He made his debut in first year of junior high school. Since his debut in director Shinji Somais first movie The Terrible Couple (80), he has appeared in numerous films such as The Five, The Five 2, Older Brother, Shark Skin Man and Peach Hip Girl, Lorelai: The Witch of the Pacific Ocean, and L: Change the World, etc.
Kanji TSUDA: Tokio Yasukawa
Born in Fukui Prefecture in 1965. After his screen debut in Sonatine (directed by Takeshi Kitano 93), he became one of Kitanos regular actors. He found his place as a character actor in movies by the popular directors Isao Yukisada, SABU, and Shunji Iwai. Recent movies include Tokyo Sonata (08), Nobody to Watch Over Me (Dare mo mamotte kurenai)(directed by Ryoichi Kimizuka 09), etc.
Cast : Maki Sakai / Hoshino Gen / Kanji Tsuda / Hitomi Sato / Eri Nitta / Masayo Utsunomiya / Shigeru Saiki / Shingo Tsurumi
Director : Kazuyoshi Kumakiri
Script : Takashi Ujita / Music: AKAINU
Theme Song : The Suns Own La PoPoyans (Good Records)
Production : Takashi Anzai / Toru Ishii / Koichi Kusakabe
Producers : Tomohiro Kobayashi / Gen Sato / Keiko Kusakabe
Planning : Toshiki Kimura
Cinematography : Ryuto Kondo
Lighting : Isamu Fujii
Sound Recording : Noriyoshi Yoshida
Art Director : Koji Kozumi
Editing : Zensuke Hori
Scripter : Ryoko Taguchi
Assistant Director : Satoshi Yoshida
Production Assistant : Takatoshi Ariga
Line Producer : Hideki Hoshino
Production Collaboration : Stairway
Production : Nippon Shuppan Hanbai / Toei Video / Theres Enterprise Inc.
Distribution : Theres Enterprise Inc.
Copyrights : 2008 "NON-KO" Film Partners
Official Site : http://nonko36.jp
production year : 2008 / production country
: Japan / screening media : 35mm positive prints / color / screen size :
American Vista(1:1.85) / DTS Srereo / running time : 105min.(104min.38sec.)
/ number of reels : 6 / length : 2870.5meters/9418feet
Film Festival :
9th Tokyo Filmex, Competition Section, Nov 22-30 2008
38th International Film Festival Rotterdam, Spectrum Section, Jan21-Feb1
2009
9th Nippon Connection, Nippon Cinema Section, Apr 15-19 2009
Theatrical Release : Dec 2008 in Japan
Keiko KUSAKABE - There's Enterprise Inc
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Phone:+81-3-5159-4081 Faximili:+81-3-5159-4084
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