‘Simply unworkable’: British film industry leaders aghast at Trump’s movie tariffs

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US president’s call for 100% tariffs on films ‘produced in foreign lands’ comes under fire, with actor Brian Cox saying Trump doesn’t understand how films are made Leading figures in the British film industry have reacted with a mixture of wariness and bemusement at the prospect of tariffs announced by Donald Trump on movies produced in “foreign lands”. Rebecca O’Brien, producer of a string of films by Ken Loach including Palme d’Or winners The Wind That Shakes the Barley and I, Daniel Blake says that tariffs appear “simply unworkable given how intertwined and global the film industry is”. “I can see that Trump watches Hollywood collapsing and losing its jobs to the rest of the world but that’s because it’s a very expensive place to make films.” Continue reading... from Film | The Guardian https://ift.tt/roHIRbU via IFTTT
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Johatsu review – poignant account of Japan’s ‘voluntarily disappeared’

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Melancholy documentary follows the owner of a ‘night moving’ business in Japan, helping people abandon their own lives

‘Johatsu” means evaporation in Japanese, and is used to refer to those people who choose to disappear, severing all ties with their past lives and their families. It became a phenomenon in Japan in the 1960s, and intensified during the 1990s as the country struggled with a debt crisis. While some plot their departures on their own, others call on the services of “night movers”: companies that help people vanish without trace.

Following the owner of one such business named Saita, Andreas Hartmann’s and Arata Mori’s poignant documentary surveys the circumstances that drive people to desperate measures. Unfolding like a suspense thriller, the opening sees a man hurriedly get inside Saita’s van, his voice trembling with fear. Unable to cope with a possessive partner, he finally manages to flee. Interviews with Saita’s other clients reveal that, besides financial catastrophes, domestic abuse is often a catalyst for escape. At the same time, the reasons for a disappearance are not always clear-cut, and the film not only lends an ear to the “evaporated” but is also sympathetic to the abandoned, who are left with gnawing questions and no answers.

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