Isao Yukisada’s tearjerker Sekai no Chushin de, Ai wo Sakebu ( Crying out love at the centre of the world ), though employing an egregiously cliched, age old melodramatic narrative that is sure to have teenage girls swooning for the lead actor’s undying love in the film, is redeemably executed with accomplished skill and beauty ( no small part due to Shinoda’s photography ). As unabashedly sentimental as the film is, the superbly timed use of Ken Hirai’s moving ballad can really get one reaching for their hankies.

Regrettably, this marked the final film shot by DP Noboru Shinoda, a long time collaborator with Iwai Shunji, whose cinematography work included Love Letter, Swallowtail Butterfly and April Story.

To celebrate Takeshi’s last day of work ( Takeshi+Kojima are bound for Montreal come late January. *sniff* ) and my film school admission, we had a nice dinner at a restaurant in Nakameguro, where as we were making our way there I was told a scene in Lost In Translation was shot just a street away, outside a Pachinko Parlour. Hmm. Back home we were then treated to Kojima’s exquisite Mandarin cheesecake, honto ni umagatta. With some free time on my hands finally, a few events are in order, not least some decent photo trips, Takeshi dittos that.

If, Miyazaki Hayao fan or no, after a viewing of his latest animation film Howl’s Moving Castle one detects a perceptible difference from his previous works, not so much with the style and visual treatment, but storyline, that’s because it is – the script is an adaptation of a children’s book by British author Diana Wynne Jones. Though this detail does little to hinder the film’s overall greatness, I cannot but feel a sense of detachment, as if the distinctive, Hallmark Miyazaki visuals are just one soul removed from the story. It is not typical of Miyazaki to center his theme and message on the romantic relationship of the protaganists, themselves usually contributing only a certain fraction to a bigger, broader subject that is the more important message he wishes to convey.

Of course, this simply isn’t a Miyazaki story to begin with. Certainly my deplorable level of japanese is also hindering my ability to understand the story fully. ( no, no subtitles for a Japanese film in Japan, it makes sense. ) Let’s hope I get to see the dvd soon with subtitles and personally no, nothing comes too close to Mononoke Hime , period.

As visual echoes of the lusciously photographed 2046 continue to course unbridled through my brain, threatening to inundate and flood out lesser, perceived inferior imagery, one lucid observation comes quickly to mind – Doyle and WKW have once again topped their personal standards of the brillant marriage of visuals and content. Pausing momentarily to evaluate recent chinese film history, with the exception of perhaps John Woo, ( with his gun totting, slow mo antics ) no director and DP have created film images so strong and intense in personal style that they are almost instantly recognizable as such. As Tony Leung converses with a character we could never see, often hidden behind a door or out of frame, we are at once cut off and unable to assert our presence, lessening the experience more akin to that of a voyeur. This motif continues from In The Mood and becomes ever more pervasive here, alienating our role as an unobtrusive, obscured viewer.

Watching 2046 gives the attuned moviegoer a collective chance of appreciating the best work of 3 masterful auteurs – Doyle, WKW and Tony Leung, all in excellent form, with the sum of their respective creative inputs culminating into a portmanteau work that is nothing short of a masterpiece.

” How happy is the blameless vestal’s lot! The world forgetting, by the world forgot. Eternal sunshine of the spotless mind! Each pray’r accepted, and each wish resign’d. ” — Alexander Pope

Not enough praises can be sung of Michel Gondry’s Eternal Sunshine of the Spotless Mind, indeed, though filmlovers familiar with screenwriter Kaufman’s work have come to expect much from his writings, the basis of which gave birth to bold and inventive works like Being John Malkovich and Adaptation, none of them exhibits the sensitivity and romantic longing that envelops Eternal Sunshine “like a soft blanket on a chilly night”, quoting BFI’s Sight and Sound. This added emotional element raises the film to a higher plane where, bar entities devoid of feelings, makes anyone wonder about their memory backlogs and if Lacuna(www.lacunainc.com)is really such a good idea.

Michel Gondry makes up a third of the triumvirate of genius minds, along with Spike Jonze and Chris Cunningham, whom with their pool of vastly influential MTVs have undeniable shaped the look of the industry. Come the day when Cunningham embarks on his feature, the creative circle would then be complete.

In the climatic showdown from Mamoru Oshii’s original Ghost In The Shell, Major Motoko Kusanagi confronts the cyberhacker Puppetmaster codenamed 2501, under the aegis of a formidable Type X10-er crab tank. This intense and impactful battle within the “floating museum”, coupled with Kenji Kawai’s haunting score is remembered as one of recent anime’s most memorable scenes.

Innocence, though retaining most of the prequel’s characters, embarks on a different storyline, this time told through the travails of Bateau and Togusa, both looking even more stoned than in the original. The film, now augmented with considerably more 3D shots, introduces sleeker mecha designs and stunning sets, while still keeping up with superb 2D animated characters. ( the quality varies at times, one thinks this might have to do with sub-outs for different animation houses ) Though not nearly matching the first film’s brilliance, the weaker finale is alleviated in part by Motoko’s return, whose “ghost” have been drifting in the network eversince her union with the Puppetmaster. Worth a look just for the visuals alone.