Maboroshi no hikari
aka
Maborosi
(título USA)
Luz Fantasmal
(traducción literal)
IMDb
Japón - 1995 - 110' - Drama
Osella de Oro al Mejor Director (Festival de Venecia, 1995)
<table width="400"><tr><td align="justify">"A deeply troubled young woman (Esumi Makiko) fears that she brings death. She has lost her grandmother and then, to suicidde, her young husband. Though she has happily remarried she remains afraid. Her fear is explored with extraordinary tact and her despair is redeemed through understanding. Miyamoto Teru's novel, finely scripted by Ogita Yoshihisa, is perfectly directed by Kore-eda Hirokazu in this, his first feature film." Donald Richie.</td></tr></table>
reparto
Yumiko: Makiko Esumi
Tamio (2º marido): Takashi Naitoh
Ikuo (1er marido): Tadanobu Asano
Yuichi (hijo de Yumiko): Gohki Kashiyama
Tomoko (hija de Tamio): Naomi Watanabe
créditos
Dirigida por: Hirokazu Kore-eda
Escrita por: Yoshihisa Ogita
Basada en una novela de: Teru Miyamoto
Fotografía: Masao Nakabori
Música: Ming Chang Chen
Existen 2 ripeos de 1 cd:
Hirozaku Koreeda - Maborosi Maboroshi No Hikari (1995).avi 
Maborosi - Maboroshi No Hikari (Hirokazu Koreeda) 1995.avi
y este otro que igual lleva subtítulos incrustados:
Hirokazu Koreeda - Maborosi (Sub Ita).avi
Hilo Allzine
Hay subtítulos para descargar en Allzine (eng/esp) y en Opensubtitles (eng/fra)
Hilo AsianDVD club (DVD9 R2 JAP)
Comparativa KOR vs USA vs JAP en DVD Beaver
Reseña de Roger Ebert
<table width="480"><tr><td align="justify">"Maborosi" is a Japanese film of astonishing beauty and sadness, the story of a woman whose happiness is destroyed in an instant by an event that seems to have no reason. Time passes, she picks up some of the pieces, and she is even distracted sometimes by happiness. But at her center is a void, a great unanswered question.
The woman, named Yumiko, is played by the fashion model Makiko Esumi. Models are not always good actresses, but Esumi is the right choice for this role. Tall, slender and grave, she brings a great stillness to the screen. Her character speaks little; many shots show her seated in thought, absorbed in herself. She is dressed always in long, dark dresses - no pants or jeans - and she becomes, after a while, like a figure in an opera that has no song.
She is 20 when we meet her. She is happily, playfully married to Ikuo (Tadanobu Asano). They have a little boy, and there is a sunny scene in which she bathes him. Then an inexplicable event takes place, and she is widowed.
Five years pass, and then a match-maker finds a husband for her: Tamio(Takashi Naitoh), who lives with his young daughter in an isolated fishingvillage. At 25, she starts her life again.
This is the first film by Hirokazu Kore-Eda, a young Japanese director whose love for the work of the great Yasujiro Ozu (1903-63) is evident. Ozu is one of the four or five greatest directors of all time, and some of his visual touches are visible here. The camera, for example, is often placed at the eye level of someone kneeling on a tatami mat. Shots begin or end on empty rooms. Characters speak while seated side by side, not looking at one another. There are many long shots and few closeups; the camera does not move, but regards.
In more obvious homage, KoreEda uses a technique that Ozu himself borrowed from Japanese poetry: the "pillow shot," inspired by "pillow words," which are words that do not lead out of or into the rest of the poem but provide a resting place -- a pause or punctuation. Kore-Eda frequently cuts away from the action to simply look for a moment at something: a street, a doorway, a shop front, a view. And there are two small touches in which the young director subtly acknowledges the master: a characteristic teakettle in the foreground of a shot, and a scene in which the engine of a canal boat makes a sound so uncannily similar to the boat at the beginning of Ozu's "Floating Weeds" (1959) that it might have been lifted from the soundtrack.
But what, you are asking, do these details have to do with the movie at hand? I mention them because they indicate the care with which this beautiful film has been made, and they suggest its tradition. "Maborosi" is not going to insult us with a simple-minded plot. It is not a soap opera. Sometimes life presents us with large, painful, unanswerable questions, and we cannot simply "get over them." There isn't a shot in the movie that's not graceful and pleasing. We get an almost physical sensation for the streets and rooms. Here are shots to look for: The first husband walking off cheerfully down the street, swinging an umbrella. Her joy in bathing the baby. A child playing with a ball on a sloping concrete courtyard. Yumiko and her second husband sitting in front of an electric fan in the hot summertime, too exhausted to make love any longer. Yumiko, wearing a deep blue dress, almost lost in shadow at a bus stop. A funeral procession, framed in a long shot between the earth, the sea and the sky. And a reconciliation seen at a great distance.
"Maborosi" is one of those valuable films where you have to actively place yourself in the character's mind. There are times when we do not know what she is thinking, but we are inspired with an active sympathy. We want to understand. Well, so does she.
There's real dramatic suspense in the first scenes after she arrives at the little village. Will she like her new husband? Will their children get along? Can she live in such a backwater? It's lovely how the film reveals the answers to these questions in such small details as a shot where she walks out her back door into the sunshine.
Underneath these immediate questions, of course, lurk the bigger ones. "I just don't understand!" she says. "It just goes around and around in my head!" Her second husband offers an answer of sorts to her question. It is based on an experience fisherman sometimes have at sea, when they see a light or mirage that tempts them farther from shore. But what is the reason for the light? </td></tr></table>
capturas:
intimidades:
Fuente: DVD R3 KOR
General #0
Complete name : I:\MABOROSHINOHIKARI\maboroshi.avi
Format : AVI
Info : Audio Video Interleave
Family : RIFF
File size : 1.35 GiB
PlayTime : 1h 49mn
Bit rate : 1771 Kbps
Writing application : VirtualDubMod 1.5.10.2 (build 2540/release)
Writing library : VirtualDubMod build 2540/release
Video #0
Codec : XviD
Family : MPEG-4
Info : XviD project
Codec settings : BVOP
PlayTime : 1h 49mn
Bit rate : 1537 Kbps
Width : 640
Height : 336
Aspect ratio : 16/9
Frame rate : 23.976 fps
Resolution : 8
Chroma : 4:2:0
Interlacement : Progressive
Bits/(Pixel*Frame) : 0.298
Audio #0
Codec : AC3
Info : Dolby AC3
PlayTime : 1h 49mn
Bit rate : 224 Kbps
Bit rate mode : CBR
Channel(s) : 2 / 2 channels
Sampling rate : 48 KHz
ChannelPositions : L R
Película:
[%E5%B9%BB%E3%81%AE%E5%85%89) Maboroshi no Hikari (maborosi)(Kore-eda Hirokazu, 1995)(DVDrip-XviD-ac3).avi
subpack (inglés, japonés, coreano):
[%E5%B9%BB%E3%81%AE%E5%85%89) Maboroshi no Hikari (maborosi)(Kore-eda Hirokazu, 1995)(ENG-KOR-JAP).rar
---> subtítulos en español (descarga directa)
aka
Maborosi
(título USA)
Luz Fantasmal
(traducción literal)
IMDb
Japón - 1995 - 110' - Drama
Osella de Oro al Mejor Director (Festival de Venecia, 1995)
<table width="400"><tr><td align="justify">"A deeply troubled young woman (Esumi Makiko) fears that she brings death. She has lost her grandmother and then, to suicidde, her young husband. Though she has happily remarried she remains afraid. Her fear is explored with extraordinary tact and her despair is redeemed through understanding. Miyamoto Teru's novel, finely scripted by Ogita Yoshihisa, is perfectly directed by Kore-eda Hirokazu in this, his first feature film." Donald Richie.</td></tr></table>
reparto
Yumiko: Makiko Esumi
Tamio (2º marido): Takashi Naitoh
Ikuo (1er marido): Tadanobu Asano
Yuichi (hijo de Yumiko): Gohki Kashiyama
Tomoko (hija de Tamio): Naomi Watanabe
créditos
Dirigida por: Hirokazu Kore-eda
Escrita por: Yoshihisa Ogita
Basada en una novela de: Teru Miyamoto
Fotografía: Masao Nakabori
Música: Ming Chang Chen
Existen 2 ripeos de 1 cd:
Hirozaku Koreeda - Maborosi Maboroshi No Hikari (1995).avi Maborosi - Maboroshi No Hikari (Hirokazu Koreeda) 1995.avi y este otro que igual lleva subtítulos incrustados:
Hirokazu Koreeda - Maborosi (Sub Ita).avi Hilo Allzine
Hay subtítulos para descargar en Allzine (eng/esp) y en Opensubtitles (eng/fra)
Hilo AsianDVD club (DVD9 R2 JAP)
Comparativa KOR vs USA vs JAP en DVD Beaver
Reseña de Roger Ebert
<table width="480"><tr><td align="justify">"Maborosi" is a Japanese film of astonishing beauty and sadness, the story of a woman whose happiness is destroyed in an instant by an event that seems to have no reason. Time passes, she picks up some of the pieces, and she is even distracted sometimes by happiness. But at her center is a void, a great unanswered question.
The woman, named Yumiko, is played by the fashion model Makiko Esumi. Models are not always good actresses, but Esumi is the right choice for this role. Tall, slender and grave, she brings a great stillness to the screen. Her character speaks little; many shots show her seated in thought, absorbed in herself. She is dressed always in long, dark dresses - no pants or jeans - and she becomes, after a while, like a figure in an opera that has no song.
She is 20 when we meet her. She is happily, playfully married to Ikuo (Tadanobu Asano). They have a little boy, and there is a sunny scene in which she bathes him. Then an inexplicable event takes place, and she is widowed.
Five years pass, and then a match-maker finds a husband for her: Tamio(Takashi Naitoh), who lives with his young daughter in an isolated fishingvillage. At 25, she starts her life again.
This is the first film by Hirokazu Kore-Eda, a young Japanese director whose love for the work of the great Yasujiro Ozu (1903-63) is evident. Ozu is one of the four or five greatest directors of all time, and some of his visual touches are visible here. The camera, for example, is often placed at the eye level of someone kneeling on a tatami mat. Shots begin or end on empty rooms. Characters speak while seated side by side, not looking at one another. There are many long shots and few closeups; the camera does not move, but regards.
In more obvious homage, KoreEda uses a technique that Ozu himself borrowed from Japanese poetry: the "pillow shot," inspired by "pillow words," which are words that do not lead out of or into the rest of the poem but provide a resting place -- a pause or punctuation. Kore-Eda frequently cuts away from the action to simply look for a moment at something: a street, a doorway, a shop front, a view. And there are two small touches in which the young director subtly acknowledges the master: a characteristic teakettle in the foreground of a shot, and a scene in which the engine of a canal boat makes a sound so uncannily similar to the boat at the beginning of Ozu's "Floating Weeds" (1959) that it might have been lifted from the soundtrack.
But what, you are asking, do these details have to do with the movie at hand? I mention them because they indicate the care with which this beautiful film has been made, and they suggest its tradition. "Maborosi" is not going to insult us with a simple-minded plot. It is not a soap opera. Sometimes life presents us with large, painful, unanswerable questions, and we cannot simply "get over them." There isn't a shot in the movie that's not graceful and pleasing. We get an almost physical sensation for the streets and rooms. Here are shots to look for: The first husband walking off cheerfully down the street, swinging an umbrella. Her joy in bathing the baby. A child playing with a ball on a sloping concrete courtyard. Yumiko and her second husband sitting in front of an electric fan in the hot summertime, too exhausted to make love any longer. Yumiko, wearing a deep blue dress, almost lost in shadow at a bus stop. A funeral procession, framed in a long shot between the earth, the sea and the sky. And a reconciliation seen at a great distance.
"Maborosi" is one of those valuable films where you have to actively place yourself in the character's mind. There are times when we do not know what she is thinking, but we are inspired with an active sympathy. We want to understand. Well, so does she.
There's real dramatic suspense in the first scenes after she arrives at the little village. Will she like her new husband? Will their children get along? Can she live in such a backwater? It's lovely how the film reveals the answers to these questions in such small details as a shot where she walks out her back door into the sunshine.
Underneath these immediate questions, of course, lurk the bigger ones. "I just don't understand!" she says. "It just goes around and around in my head!" Her second husband offers an answer of sorts to her question. It is based on an experience fisherman sometimes have at sea, when they see a light or mirage that tempts them farther from shore. But what is the reason for the light? </td></tr></table>
capturas:
intimidades:
Fuente: DVD R3 KOR
General #0
Complete name : I:\MABOROSHINOHIKARI\maboroshi.avi
Format : AVI
Info : Audio Video Interleave
Family : RIFF
File size : 1.35 GiB
PlayTime : 1h 49mn
Bit rate : 1771 Kbps
Writing application : VirtualDubMod 1.5.10.2 (build 2540/release)
Writing library : VirtualDubMod build 2540/release
Video #0
Codec : XviD
Family : MPEG-4
Info : XviD project
Codec settings : BVOP
PlayTime : 1h 49mn
Bit rate : 1537 Kbps
Width : 640
Height : 336
Aspect ratio : 16/9
Frame rate : 23.976 fps
Resolution : 8
Chroma : 4:2:0
Interlacement : Progressive
Bits/(Pixel*Frame) : 0.298
Audio #0
Codec : AC3
Info : Dolby AC3
PlayTime : 1h 49mn
Bit rate : 224 Kbps
Bit rate mode : CBR
Channel(s) : 2 / 2 channels
Sampling rate : 48 KHz
ChannelPositions : L R
Película:
[%E5%B9%BB%E3%81%AE%E5%85%89) Maboroshi no Hikari (maborosi)(Kore-eda Hirokazu, 1995)(DVDrip-XviD-ac3).avi subpack (inglés, japonés, coreano):
[%E5%B9%BB%E3%81%AE%E5%85%89) Maboroshi no Hikari (maborosi)(Kore-eda Hirokazu, 1995)(ENG-KOR-JAP).rar ---> subtítulos en español (descarga directa)
Puesta en lista, gracias por el cine. Saludos ^_*