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A Leningrad Cowboy lookalike allotment to the boondocks to acclamation up his dying dad in “Mohican Comes Home,” an endearingly loud dramedy which reminds one that not all Japanese ancestors dramas are affable and restrained. Helmer-scribe Shuichi Okita (“The Story of Yonosuke”) gives admirers no blow with characters who bandage through bouncy and abrasion their hearts, as able-bodied as bad beard days, on their sleeves. Thankfully, comic-timing is camp and the character-driven gags hardly feel glibly contrived. Considering how able-bodied Okita’s antecedent works traveled the fest circuit, “Mohican” should fasten up absorption amid audience-friendly fests.

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Okita’s fourth affection may be added acute than his added low key comedies, but he still demonstrates a adroitness for abstraction activity in abandoned outposts with quirky, sad-but-funny strokes, as he did in “The Chef of South Polar” and “The Woodsman and the Rain.” This time, he sets the yarn on Tobijima, a fabulous island off the bank of Hiroshima, and celebrates the simple joys and common attitude of island folk.

Eikichi Tamura (Ryuhei Matsuda) is the frontman of a hopeless death metal bandage in Tokyo. Aback he knocks up his g.f. Yuka (Atsuko Maeda), he cautiously takes her with him to Tobijima to advertise their accessible wedding. Although he hasn’t been aback for seven years, he affairs a quick in-and-out. The ancestors alliance sets the accent for the film’s agrarian affection swings. First, Eikichi’s dad Osamu (Akira Emoto) wallops him for actuality a deadbeat. Next affair we know, he throws an ad-lib affair to bless acceptable a grandfather.

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Osamu collapses in a fit of bashed carousal and is taken to the hospital, area he’s diagnosed with avant-garde lung cancer. Eikichi and Yuka accept no best but to adjourn their return. Instead of axis into a absolute meller, the knockabout absurdity keeps coming. Far from wallowing in grief, the Tamuras up the ante in well-meaning but bumbling antics, embodied by an adventure in which Eikichi tries to amuse Osamu’s abrupt appetite for pizza with a abashed gesture. Added added affecting scenes accommodate those of Eikichi’s mom Haruko (Masako Motai) bonding with Yuka, as aback she showers her with gallons of noodle-dipping sauce. Though not an attention-grabbing role, Eikichi’s afraid adolescent brother Koji (Yudai Chiba) serves as a antithesis for his audacious sibling.

Eikichi’s punk-rocker attire, so out-of-place in his hometown, generates some wry beheld gags. As his Pompadour hairstyle outgrows itself like a boring toppling pyramid, it symbolizes his aggregate in with the bounded affairs again. Without architecture up to some back-patting reconciliation, audiences can gradually admit that Eikichi is a dent off the old block: Osamu is a hardcore fan of 70s bedrock brilliant Eikichi Yazawa, and his crumbling rockabilly apparel are aloof as blatant as his son’s Mohican hairdo. However, his agreeable ambitions booty a altered anatomy — as the drillmaster of a tone-deaf academy assumption band.

The moment ancestor and son stop analytical anniversary added and apprehend they’re block the aforementioned ambiguous dream, Eikichi hits on the best way to accord his dad the absolute send-off. Ultimately, “Mohican,” like best ancestors drama, extols two ancestors accepting anniversary added for who they are; aloof not via affected soul-baring reconciliations. Notwithstanding gaffes and misunderstanding, the Tamuras appear to agreement with accident and acknowledge their acknowledgment of claret ties in their own cool manner.

Personifying agreeable losers who booty themselves asleep actively alike aback anybody abroad treats them as a joke, Emoto and Matsuda try to audacious anniversary added with bawling, shouty perfs. Thankfully, Maeda’s there to accent them bottomward with the aforementioned laid aback agreeableness she displayed as a slacker in “Tamako in Maoratorium.” With ablaze eyes and an accessible smile, her Yuka is the affectionate of babe at affluence in the best awkward situations, and her unruffled accepting of motherhood gives the accomplished ancestors achievement and backbone to get through their crisis. Usually an ever methodical thesp, Motai’s perf is additionally one of her best spontaneously emotional.

Shooting by Akiko Ashizawa, who attempt Okita’s “The Chef of South Polar” and several of Kiyoshi Kurosawa’s works, took abode on four baby islands off Seto Inner Sea (Setonaikai), acquiescent beaming visuals of dejected skies and brilliant beaches. Shoji Ikenaga’s active account references but does not accent Eikichi’s or Yuzawa’s music. Added tech credits are smooth.

Film Review: ‘Mohican Comes Home’

Reviewed at Osaka Asian Film Festival (Closer), March 13, 2016. (Also in Udine Far East Film Festival.) Running time: 125 MIN. (Original Title: “Mohikan kokyo ni kaeru.”)

Production: (Japan) A Tokyo Theaters absolution of a Kansai Telecasting, Bandai Visual, Pony Canyon, Asmik Ace, Tokyo Theaters, Shin Hiroshima Broadcasting, Office Shirous presentation of an Office Shirous production. (International sales: Asmik Ace, Tokyo.) Produced by Yuko Aoki, Asako Nishikawa, Suguru Kubota, Miyuki Sato. Executive producers, Yoshio Yokosawa, Kazumi Kawashiro, Yosuke Miyake, Sanuyuki Sano, Kazuhiro Ota, Hiroshi Inagaki.

Crew: Directed, accounting by Shuji Okita. Camera (color, widescreen, HD), Akiko Ashisawa; editor, Takashi Sato; music, Shoji Ikenaga music supervisors, Shin Yasui, Eiko Shinozaki; assembly designer, Norifumi Ataka; apparel designer, Haruki Koketsu; complete (5.1 Ch.); band producer, Daizuke Saito; abettor director, Katsuhito Mogi.

With: Ryuhei Matsuda, Akira Emoto, Atsuko Maeda, Masako Motai, Yudai Chiba, Katsumi Kiba, Jun Miho, Ryota Koshiba, Miu Tomita.

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