Jeanskynebu the audience applauded

Konterr Brilliant and touching

MusicChat It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

Abbigail Bush what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

citronellaa Initially I had concerned expectations, having read the synopsis of this story. I feared it could be sleazy, or all wrong, but since I liked a couple of the director's other films, I thought I'd try it.Thankfully, the main characters had more depth than I feared. We see the vulnerability and innocence of young males who've ended up in difficult and messy situations as a result of their potentially short-sighted choices, as they struggle with their genuine emotions.What I didn't like is the way the storyline didn't properly explore the love interest of the two young males - there was real potential for something more beautiful there, but instead all there was, was tense kissing between them in the hotel room in front of a middle aged man who had hired them, shortly before one of them breaks down into tears... So kind of worrying and disappointing overall. Like - it's a shame, how things turned out for them, so I couldn't really like the film because of this. On the flip side, there is at least a little bit of hope at the end, as they walk home together, hopefully for new beginnings.

Chris Knipp In this gay-themed Japanese film from the early Nineties, Tatsuru (Yoshihiko Hakamada), a college student, and Shin (Masashi Endô), who's in high school, work out of the same Tokyo bar called Pinocchio as gay rent boys. Yoriko (Reiko Kataoka) and Atsumi (Sumiyo Yamada) are their respective girl friends--but not girlfriends, though they'd both like to be. Tatsuru and Shin are teen dreamboats in their way: both have boyish, androgynous good looks and perfect hair they're always fussing with. At first the focus is on the tall Tatsuru, who's shown with a john in the opening sequence, which establishes that he is sexually ambivalent and emotionally shut down. He's good at sex supposedly, if you like making love with an alabaster robot. He's cut off from his family despite his father's attempts to maintain contact and lives in a tiny apartment by himself till Shin, who knows he's gay and comes out to his parents and is kicked out of the house, moves in with Tatsuru. This is only supposed to be temporary, but it brings things to a head because little Shin's in love with Tatsuru, as he's told Atsumi. She chides Shin later for chickening out of this opportunity to declare his love to Tatsuru. This is the old theme of the gay kid who falls in love with a straight guy, except the object of his affections isn't straight but just unwilling to admit he's gay, and to make things worse is a colleague in the skin trade..Ironically, Shin is a washout as a male prostitute. Or perhaps it makes sense that somebody who knows he's gay and is in love with someone he sees all the time will have trouble turning the sex on and off mechanically the way Tatsuru can.'Slight Fever' reeks of urban ennui, though cultural differences make it a little hard for a westerner to assess the mood of this elegantly understated film--which, nonetheless, is as Hashiguchi starts out a commentary by saying, "sensational," never more so than in the scene toward the end where he himself plays a client in a hotel room who winds up with both Tatsuru and Shin in his bed, a situation that goes very badly for all concerned. This is one of a series of tense surprises. In a previous one Tatsuru goes to Yoriko's house to help move a TV and is forced to stay to dinner only to discover Yoriko's father is one of his clients. Maybe this is meant to be funny, but both males appear to be imploding throughout a meal in which the two females chatter on and on. It seems like the only communicating in the film is with or between females, but it's mostly just empty chatter. The conversations that matter between or among the males never take place.The technically so-so DVD includes a bonus section made ten years after 'Slight Fever's' release where director Ryosuke Hashiguchi describes the experience of this, his first film, and two of the main actors who've had successful careers since tell how it was for them this first time. None of the four principals had had previous acting experience. The interview films also show stills taken on the set. Hashiguchi looked a lot younger, was boyishly handsome, much like Hakamada, who was fresh from the provinces and a fashion model whose cold, blank expression the director liked; and in fact as Hakamada reports, he and the director were confused with each other on the set more than once, though Hashiguchi never acknowledged the resemblance. Hashiguchi, with typical Japanese reserve, reveals little about himself other than that he is gay and that he labored over the script for 2 1/2 years because he wanted other people to "understand how it is." The gay life--did he live it in this way? Yes and no, probably. A gay man who had a sexually promiscuous youth can easily imagine what it is like to be a rent boy. Or maybe he was one. What is clear is that the contrasts between Tatsuro and Shin dramatize the difference between a boy who knows he's gay and one who's struggling with the fact.Hashiguchi reveals that the film was a surprise hit in Japan and young men and women are seen in stills lining up for blocks to see it, while provincial gay boys wrote the director to tell him his film saved them from suicide. Hashiguchi isn't wrong when he says the film is badly made. The project was underfunded and rushed and the technical package is unimpressive. It's shot in 16mm. Visuals are okay but not great, and as the director points out things fell apart style-wise when he chose to take on the role of the john in the hotel room at the end and they switched to a hand-held camera that gets way too jiggly at one point. But if this is the seminal gay coming of age film for a generation of gay Japanese boys, those faults don't matter. There are also signs that Hashiguchi has a flair for plot and editing, despite the extreme haste in which the latter had to be done, and his later efforts (which I haven't seen) are rumored to be successful. Judging from the lack of external reviews the film seems to have had zero theatrical life in the West, so despite its local success and a sort of interesting blend of shock and understatement and the fact that the performances do work, it seems like a minor film even from the gay point of view. Some scenes are fascinating; others with a slight shift in plot elements could just be moments from some conventional Japanese TV series. But if this was a ground-breaker and now could be a conventional TV series, that's not such a bad thing either.

charcoalactivity OK. Will someone who's seen this before explain this to me? I saw this movie twice. I would say the same things that have already been said here. It's a wonderful movie about these two boys, and their female friends, and the boy "falling in love" with the other boy... blah, blah. But I DON'T GET IT.SPOILER******** Why did Shin burn Tatsuro's picture after Tatsuro kissed him and tried to have sex with him? Was Shin somehow falling "out" of love because Tatsuro was "just in it for sex, fun, and money"? Was Shin mad about that? Was Shin's feeling just a sexual attraction and not "love" as his girl best friend said it is? What was the ending all about? Seriously! Did both characters realize that they're NOT gay and they're only hustling for the money? Or have they realized that they ARE gay and are in love with each other? I DO NOT GET THE ENDING! HELP ME OUT HERE PLEASE!!! This movie is SO FULL OF TENSION. It got me shouting HUUUUUUH? all the while. I was wanting more and more of Shin/Tatsuro's sexual tension!!! Their chemistry is freakishly depressing and HOT at the same time!! The end was such a "HUH?" to me that I seriously need a part 2 to make me understand how Tatsuro and Shin really feel for each other! :( PLEASE HELP ME UNDERSTAND THIS MOVIE. I absolutely loved it but I REALLY need more Shin/Tatsuro "looovin'." :D

Johan-24 Hashigushi's film about two Japanese students who make some extra money as rent boys has an atmosphere much like his later film 'Like Grains of Sand'. What is impressive about his way of filming is the intensity he creates with his slow way of filming and his long camera shots from a single perspective. This way, the focus is on the actors, and the little things they do, through which we slowly get to know them. There is one beautiful scene where one of the boys, who is in love with the other one, lies on the top of a school building, doing nothing else than looking at a photograph of his friend, which he has secretly taken from their pimp, while a girl friend just hangs around him, getting very bored with the situation. The boredom is typical of all the youths in the film, who really do not seem to have any real direction in life, no ambition, and who certainly do not seem to be able of handling there feelings. The two boys are frustratingly clumsy about showing any feeling towards each other, which doesn't offer much hope for any possibility of some happiness evolving in their dreary lives. The film does leave you slightly depressed, as there does not seem to be much reason for optimism about growing up in Japan. There is however, some relieve, due to the humour Hashigushi occasionally uses in his film, like in the scene where one of the boys visits a girlfriend, to discover that her father is one of the men who pays him for sex.