a page of madness

film writing by nicholas vroman

Sore demo hana wa saite iku / それでも花は咲いていく

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Comedian/musician/tarento Maeda Ken’s directorial debut, Sore demo hana wa saite iku is a sentimental look at three pervs in three parts. The ostensible exploration of each tale is of the motivation/tragedy/humanity of each unlucky guy’s story. With the somewhat baffling device of having each segment titled with a flower’s name, the whole shebang starts off with “Edelweiss,” the tale of a lonely pederast (Nishina Takashi), who doesn’t really have the nerve to act on his compunction. However if shame were a medical condition, he’d be a textbook case. “Hyacinth” follows a fetishist (Takito Kenichi) with a talent for breaking and entering. He returns to the same empty apartment, leaving his scent and messages for the deaf female occupant who’s conveniently away whenever he comes by. Really! The final act, introduces an Oedipally retentive pianist under the title of “Pansy” – perhaps the most fitting of the three. Maeda would best stick to his impressions of Matsuura Aya, rather than the director’s chair after this poorly conceived exercise in overwrought badly written and directed sub-television fodder.

Originally published in EL Magazine, May 2011.

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