Tuesday, March 13, 7:00 PM @ AMC River East 21
Opening Night Film - U.S. Premiere
COLORS OF WIND (風の色)
YUKI FURUKAWA IN PERSON!
Director: Kwak Jae-yong
Starring: Yuki Furukawa and Takemi Fujii
Film Source: ASIA Pictures Entertainment Inc.
Japan/South Korea | 2017 | 119 Minutes | In Japanese w/English subs | Genre: Drama
Tickets are all GA in advance on line: $15 or seniors 65+ $13 and students w/valid IDs @$8. AT THE DOOR - $15 CASH ONLY.
Ryo's girlfriend who named Yuri told him that she has a doppelganger in Hokkaido before she past away. Later, Ryo discovers he has a doppelganger himself in Hokkaido, his name is Ryu. Ryu, a magician who died during a magic trick one year ago. Ryo travels to Hokkaido to find things out and gets messed up with Ryu by Aya, who looks like Yuki. Aya is so happy that Ryu comes back to her, but she doesn't realize that he is Ryo. Ryo gets to decide either stay with Aya as Ryu, nor leave her to live as himself.
There he discovers that he has a doppelganger named Ryu, a magician who died during a magic trick one year ago. Ryo is submerged in a parallel universe when he is introduced to his doppelganger by Ryu's girlfriend, who is the split and image of his deceased girlfriend. Ryo is then forced to face an out-of-the-realm decision.
Recently interviewed by Kaori Shoji of Japan Times, Filmmaker Kwak Jae-Yong finds wild Hokkaido ripe for melodrama in Colors of Wind, below excerpt from the interview:
As the maestro of Asian melodrama, he is famed for having rewritten the rules of the Asian love story with My Sassy Girl in 2001, which broke box-office records in his home country of South Korea and became a media phenomenon in Japan. (It was also later remade for Hollywood with the same title by Yann Samuell).
In 2008, Kwak made his first Japanese-language film, casting Haruka Ayase as the heroine in "Boku no Kanojo wa Saibogu" Cyborg She. In 2014, he came out with his first Chinese film, a sequel to "My Sassy Girl" called "Meet Miss Anxiety."
Kwak's latest, "Kaze no Iro" Colors of Wind marks his second Japanese-language vehicle. The film can be described as a tall glass of pure, undiluted Kwak-style.
"Call me old-fashioned," says Kwak, "but I do think the melodrama benefits a lot from old cultural references and icons, because they evoke memories from another time. And memories - whether they're shared by the audience or not - form part of a collective experience that's relevant to us all."