Short Film Review: Similarity (2022) by Kiichiro Kimura

Kiichiro Kimura’s “Similarity” is 1 of these delightful small shorts, with a premise which is each absurd and relatable in equal measure. In a brief space of time, the situation is set-up, created and smashed to pieces in a comedic turn at the finish.

&#8220Similarity&#8221 is screening at Skip City International D-Cinema Festival

Tanaka (Ippei Osako) is getting interviewed soon after getting an award for this marketing campaign advertising society’s ‘hidden young children.’ Taking a break from interviewing, he spies old college pal Yusaku (Sho Mineo) who is at the inventive agency for a job interview. Bringing some of his perform for the agency to view, he has accidentally brought with him an old college piece that appears suspiciously like Tanaka’s now award-winning campaign. Immediately realising the embarrassment and harm this could bring to the agency, Tanaka’s bosses want him to immediately deal with the circumstance, i.e. purchase the painting off Yusaku at what ever expense.

The two leads are a deliberate odd-couple, asking yourself how they ever could have been good friends when at art college. But it is clear to see the dynamic among the two: Tanaka is the dashing, young face of the agency, with a smooth sophistication to match Yusaku is a bumbling oddball, nervous with his personal exclusive style, but with that, of course, organic talent. Tanaka knows he is protected in copying Yusaku’s perform, as he’s merely content for Tanaka to speak to him, and so effortless to manipulate.

But this is Tanaka’s downfall. Arriving at Yusaku’s house, he believes it is a straightforward case of naming a meagre price tag and receiving away with his future profession intact. But Yusaku’s pregnant wife Emi (Reiko Mori) is smarter than this. The agency Yusaku interviews for and the painting accidentally getting in his bag at the interview are no coincidence. Yusaku is not the only 1 who can manipulate.

The characterisation is a sturdy point in Tanaka and Yusaku, getting each caricatures, but also believable examples of individuals in the workplace. Tanaka is a classic case of higher reward, low work, capable to perform his way up in his profession. Yusaku, nonetheless, is the inventive spark, but as well sincere to take benefit of his talent.

Director Kimura’s varied profession incorporates corporate marketing, and so he is adept at receiving his message across in a brief time frame, with neat storytelling and a punchy finish. Certainly, the ending may possibly come across as some thing of an effortless copout, as Tanaka has nowhere to turn, even though sings in tune with the absurdity all through.



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