#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Machisu is a painter. He never had the success he thinks he is entitled to. Regardless of this, he always remains trying to be successful. His wife Sachiko keeps supporting him, despite all setbacks.
Plot: Machisu is a painter. He never had the success he thinks he is entitled to. Regardless of this, he always remains trying to be successful. His wife Sachiko keeps supporting him, despite all setbacks. Machisu, the only son of a rich collector, has a childs love for painting. Praise from a famous artist friend of his father inspires the young boy to dream of becoming a painter himself. s a young man, poor loner Machisu manages to attend art school with money earned from working. He is introduced to an unconventional world of bold creativity but he also gets his first bitter taste of harsh criticism from a dealer. Encouragement comes in the form of attractive clerk Sachiko who is convinced that she alone understands him. Marriage is soon followed by a daughter, as love and hope drive Machisu to commit even more deeply to his art …
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Kitano trying something different – is kind of something you expect from him. Now while he could have just been doing Yakuza or silly comedies, he goes ahead and does movies like this. It’s about art – not just his decision, but what this movie is about. Now there is quite a lot of comedy in it and there is also quite a lot of violence in it too.
It is what he knows to do – and he is good in it. And while I did not look into if there is any autobiographical aspect to it, it does feel like he at least is chanelling something about himself. It may feel like small pieces sown together, but there is craft in that, making it compelling and interesting to see the road and determination of an artist. It is odd, but it is also really good
Art for art’s sake – with added black humor
Achilles and the Tortoise is the last installment in a loose trilogy actor/director Takeshi Kitano has made about the figure of the artist. Whereas the first two entries, Takeshi’s and Glory to the Filmmaker, could basically be described as one big self-referential absurdist joke, Achilles is a more controlled film, with a proper story and a precise set of themes, albeit decorated with cheerfully absurd humor.
Such a scenario occurs right from the beginning, in an animated prologue which explains the bizarre title: as pointed out by the philosopher Zeno, if Achilles (the fastest mortal man, according to Greek mythology) and a tortoise competed in a race, and the latter had even the slightest advantage (say three feet), logic demands that in the time required for Achilles to reach that point, the tortoise would keep moving forward, and therefore the famous warrior, paradoxically enough, would never be able to catch up with the notoriously slow animal.
In Kitano’s film, Achilles would be Machisu, a young boy fascinated by art, and the tortoise is success. Despite the boy’s determination and occasionally bold choices of subjects (he has a knack for painting macabre events), his lack of stylistic originality makes all galleries shun him and most of his friends abandon him. Only his wife will keep supporting him, even in his older days (at this point, Kitano himself plays the role), when they’re practically broke and their own daughter is ashamed to live in the same house as them.
Kitano’s passion for painting is quite well known among those familiar with his work (he personally makes all the artwork that shows up in his movies), and so Achilles and the Tortoise is a good opportunity for him to use his hobby as a tool to reflect on the elusive subject of art and its various ramifications. Naturally, he does this with his usual penchant for darkly humorous set-ups, especially in the third act, with some scenes so audacious it’s doubtful even something like Six Feet Under would have featured them. And yet one does not feel repulsed by those scenes. On the contrary, it’s the absurdity of the plot, paired with Kitano’s quietly composed directing and minimalistic performance, that constitutes the movie’s primary point of attraction. In fact, Kitano’s on-screen presence is so charismatic that perhaps he would have been better off shortening the first section of the picture and granting his quirky alter ego more room. Furthermore, the straightforward “happy” ending feels completely at odds with everything else, but then again coming up with a suitably crazy epilogue might have proved too arduous a task.
Ultimately, the only thing that seriously damages a part of this strange and, in its own way, funny opus is the running time (almost two hours), with minor help from the somewhat off- beat conclusion. Nevertheless, Kitano fans are likely to find something to embrace yet again, and anyone with some kind of interest in art should take a good, close look at this original take on the matter.
Original Language ja
Runtime 1 hr 59 min (119 min)
Genre Comedy, Drama
Director Takeshi Kitano
Writer Takeshi Kitano
Actors Takeshi Kitano, Kanako Higuchi, Kumiko Asô
Awards 1 win & 1 nomination
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Arriflex 535B, Zeiss and Angenieux Lenses
Laboratory Tokyo Laboratory Ltd., Tokyo, Japan
Film Length N/A
Negative Format 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218)
Cinematographic Process Digital Intermediate (2K) (master format), Spherical (source format)
Printed Film Format 35 mm