塚本晋也と片岡礼子 主演『溺れる人』の一尾直樹監督が描く長編第二作『心中天使』が渋谷ユーロスペースにて都内独占先行公開中(2/5より）。2/19(土)からは、撮影地でもあり一尾監督の活動拠点である地元・名古屋シネマテーク、小牧コロナシネマワールド、安城コロナシネマワールド、引続き豊川、半田でも公開される。

両親と実家で暮し、ピアノを教えているだけのアイ。妻子と別れ新しい恋人と暮らす会社員のユウ。母親と恋人を他人事のように眺めている女子高生のケイ。「こんなことをしたいんじゃない」。「ほんとうは違う」。思いと裏腹な現実が充満しはじめた心に“それ”が飛来した。内面生活は現実社会から乖離し、現実を呑みこみ、周囲をも変えていく…。出演は、尾野真千子、郭智博、ミスマガジン出身の菊里ひかり（現・桜井ひかり）。アイの父に『萠の朱雀』でも尾野と父子を演じた國村隼。アイの母に萬田久子、ほか麻生祐未、風間トオル、内山理名ら確かな俳優たちが集結。一尾は、関係性における自己存在の不確かさという一貫したテーマを、『溺れる人』を経て、深化させつつ昇華させ、つながりたいけれどつながれない現代の関係性を描いた。本作は、現実とネットの境界が曖昧になり、内面が現実を侵食していく社会で生きる方法を提示する、すなわち愛を見つけることを怖れている人のための処方箋である。[SPEC]2010年／日本／カラー／35ミリ撮影／アメリカンビスタ／DTSステレオ／98分／一般映画／配給：マコトヤ

“心中天使(Shinchu Tenshi)|SYNCHRONICITY” was theatrical opened at Eurospace, Shibuya and from Feb.19th will open also at Nagoya Cinemateque etc 5 theaters in Aichi.   The movie is the real movie directed by Naoki Ichio,  who made his first movie “A DROWNING MAN” which shows”impossible” realities in exactly the same way that it shows day-to-day life,  appeared by Shinya Tsukamoto and Reiko Kataoka in 2000.

Director’s statement of  “SYNCHRONICITY” is

This film depicts three people’s lives separately and parallel.  One day, they suddenly got grasped by “something” and they start to shut themselves away. Their family and lover are puzzled by their sudden change.

What is “something”?  It may be the emotion that they have unconsciously suppressed.  Of course, the film is “fiction”, therefore, audience is free to interpret something beyond the extent of human knowledge.  The essential part of the film is not knowing “something” exactly.  Depicting relationship with others and oneself which was disrupted by “something” is more important.

I depicted a married couple in my debut feature, A Drowning Man.  In the beginning of the film, the wife drawn and died in the bathtub but in the next morning, she came back to life as nothing has happened.  However that was the incident by the husband’s point of view.  For wife, it is impossible for her who lives at present was dead in the past. I have asked a question many times by the audience “Was the wife really dead?”  Actually, I do not know.  There is no answer for that question, because for me the essential part of the film was depicting absolute “gap” of wife and husband.

We, Japanese, are living in the loneliest age in the history.  I am not interested in seeking the cause.  I am always interested in depicting ourselves “symbolically”.