Departure Download Di Film Mp4
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Departure is a 2015 English-French independent coming-of-age romantic-drama film, written and directed by Andrew Steggall in his feature directorial debut. The film stars Juliet Stevenson, Alex Lawther, Phnix Brossard [fr], Finbar Lynch, and Niamh Cusack.
Departures received positive reviews, with aggregator Rotten Tomatoes indicating an 80% approval rating from 108 reviews. Critics praised the film's humour, the beauty of the encoffining ceremony, and the quality of the acting, but some took issue with its predictability and overt sentimentality. Reviewers highlighted a variety of themes, but focused mainly on the humanity that death brings to the surface and how it strengthens family bonds. The success of Departures led to the establishment of tourist attractions at sites connected to the film and increased interest in encoffining ceremonies, as well as adaptation of the story for various media, including manga and a stage play.
Daigo finds an advertisement for a job "assisting departures". Assuming it to be a job in a travel agency, he goes to the interview at the NK Agent office and learns from the secretary, Yuriko Kamimura (Kimiko Yo), that he will be preparing bodies for cremation in a ceremony known as encoffinment. Though reluctant, Daigo is hired on the spot and receives a cash advance from his new boss, Sasaki (Tsutomu Yamazaki). Daigo is furtive about his duties and hides the true nature of the job from Mika.
His first assignment is to assist with the encoffinment of a woman who died at home and remained undiscovered for two weeks. He is beset with nausea and later humiliated when strangers on a bus detect an unsavoury scent on him. To clean himself, he visits a public bath which he had frequented as a child. It is owned by Tsuyako Yamashita (Kazuko Yoshiyuki), the mother of one of Daigo's former classmates.
Over time, Daigo becomes comfortable with his profession as he completes a number of assignments and experiences the gratitude of the families of the deceased. Though he faces social ostracism, Daigo refuses to quit, even after Mika discovers a training DVD in which he plays a corpse and leaves him to return to her parents' home in Tokyo. Daigo's former classmate Yamashita (Tetta Sugimoto) insists that the mortician find a more respectable line of work and, until then, avoids him and his family.
After a few months, Mika returns and announces that she is pregnant. She expresses hope that Daigo will find a job of which their child can be proud. During the ensuing argument, Daigo receives a call for an encoffinment for Mrs Yamashita. Daigo prepares her body in front of both the Yamashita family and Mika, who had known the public bath owner. The ritual earns him the respect of all present, and Mika stops insisting that Daigo change jobs. At the funeral, Yamashita is permitted to witness the burning of his mother's body through a peephole on the retort and listens to a heartfelt anecdote about death told by the furnace operator.
Sometime later, they learn of the death of Daigo's father. Daigo experiences renewed feelings of anger and tells the others at the NK office that he refuses to deal with his father's body. Feeling ashamed of having abandoned her own son long ago, Yuriko tells this to Daigo in an effort to change his mind. Daigo berates Yuriko and storms out before collecting himself and turning around. He goes with Mika to another village to see the body. Daigo is at first unable to recognize him, but takes offence when local funeral workers are careless with the body. He insists on dressing it himself, and while doing so finds a stone-letter that he had given to his father, held tight in the dead man's hands. The childhood memory of his father's face returns to him, and after he finishes the ceremony, Daigo gently presses the stone-letter to Mika's pregnant belly.
Despite the importance of death rituals, in traditional Japanese culture the subject is considered unclean as everything related to death is thought to be a source of kegare (defilement). After coming into contact with the dead, individuals must cleanse themselves through purifying rituals.[5] People who work closely with the dead, such as morticians, are thus considered unclean, and during the feudal era those whose work was related to death became burakumin (untouchables), forced to live in their own hamlets and discriminated against by wider society. Despite a cultural shift since the Meiji Restoration of 1868, the stigma of death still has considerable force within Japanese society, and discrimination against the untouchables has continued.[c][6]
Until 1972, most deaths were dealt with by families, funeral homes, or nōkanshi. As of 2014[update], about 80% of deaths occur in hospitals, and preparation of the bodies is frequently done by hospital staff; in such cases, the family often does not see the body until the funeral.[7] A 1998 survey found that 29.5% of the Japanese population believed in an afterlife, and a further 40% wanted to believe; belief was highest among the young. Belief in the existence of a soul (54%) and a connection between the worlds of the living and the dead (64.9%) was likewise common.[8]
Getting funding for the project was difficult because of the taboos against death, and the crew had to approach several companies before Departures was approved by Yasuhiro Mase and Toshiaki Nakazawa.[13] According to the film's director, Yōjirō Takita, a consideration in taking on the film was the age of the crew: "we got to a certain point in our lives when death was creeping up to become a factor around us".[14] Kundō Koyama was enlisted to provide the script, his first for a feature film; his previous experience had been in scripting for television and stage.[15] Takita, who had begun his career in the pink film genre before entering mainstream filmmaking in 1986 with Comic Magazine,[g] took on the director's role in 2006, after producer Toshiaki Nakazawa presented him with the first draft of the script.[16] In a later interview he stated "I wanted to make a film from the perspective of a person who deals with something so universal and yet is looked down upon, and even discriminated against".[17] Although he knew of the encoffining ceremony, he had never seen one performed.[3]
While the book and film share the same premise, the details differ considerably; Aoki attributed these changes to the studio making the story more commercial.[24] Both feature a protagonist who endures uneasiness and prejudice because of his job as a nōkanshi,[22] undergoes personal growth as a result of his experiences, and finds new meaning in life when confronted with death.[25] In both, the main character deals with societal prejudices and misunderstandings over his profession.[26] In Coffinman, the protagonist was the owner of a pub-caf that had gone out of business; during a domestic squabble his wife threw a newspaper at him, in which he found an ad for the nōkanshi position.[27] He finds pride in his work for the first time when dealing with the body of a former girlfriend.[26] Koyama changed the protagonist from a bar owner to cellist as he wanted cello orchestration for the film score.[28] Other differences included moving the setting from Toyoma to Yamagata for filming convenience, making the "letter-stone" a greater part of the plot,[29] and an avoidance of heavier scenes, such as religious ones and one in which Aoki talks of seeing "light" in a swarm of maggots.[22] Koyama also added the subplot in which Daigo is able to forgive his late father; taken from a novel he was writing, it was intended to close the story with "some sense of happiness".[30]
Motoki, by then in his early 40s and having built a reputation as a realist, was cast as Daigo.[h][31] Veteran actor Tsutomu Yamazaki was selected for the role of Sasaki;[32] Takita had worked with Yamazaki on We Are Not Alone (1993).[33] Although the character of Mika was initially planned as being the same age as Daigo, the role went to pop singer RyōkoHirosue, who had previously acted in Takita's Himitsu (Secret) in 1999.[i] Takita explained that a younger actress would better represent the lead couple's growth out of naivety.[32] In a 2009 interview, Takita stated that he had cast "everyone who was on my wish list".[34]
Motoki studied the art of encoffinment first-hand from a mortician, and assisted in an encoffining ceremony; he later stated that the experience imbued him with "a sense of mission ... to try to use as much human warmth as I could to restore [the deceased] to a lifelike presence for presentation to her family".[35] Motoki then drilled himself by practising on his talent manager until he felt he had mastered the procedure, one whose intricate, delicate movements he compared to those of the Japanese tea ceremony.[36] Takita attended funeral ceremonies to understand the feelings of bereaved families, while Yamazaki never participated in the encoffinment training.[37] Motoki also learned how to play a cello for the earlier parts of the film.[38]
To provide realistic bodies while preventing the corpses from moving, after a lengthy casting process the crew chose extras who could lie as still as possible. For the bath house owner Tsuyako Yamashita, this was not possible owing to the need to see her alive first, and a search for a body double was unfruitful. Ultimately, the crew used digital effects to transplant a still image of the actor during the character's funeral scene, allowing for a realistic effect.[34]
The non-profit organization Sakata Location Box was established in December 2007 to handle on-location matters such as finding extras and negotiating locations. After deciding to shoot in Sakata, Location Box staff had two months to prepare for the eighty members of the film crew.[39] Negotiations were slow, as many local property owners lost interest after learning that the filming would involve funeral scenes; those who agreed insisted that shooting take place outside of business hours.[40]
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