Ubisoft Presents Fantasia 2008
Accuracy of Death

Accuracy of Death

(Suwîto rein: Shinigami no seido / Sweet Rain)

Canadian Premiere

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Credits

Director: Masaya Kakei
Screenplay: Masaya Kakei, Hirotoshi Kobayashi, from Kotaro Isaka
Cast: Takeshi Kaneshiro, Manami Konishi, Ken Mitsuishi, Sumiko Fuji, Takuya Ishida
Producers: Tohru Horibe, Takaya Kurata, Takashi Kamikura
Distributor: NTV

Description

Chiba handles his job with remarkable detachment and professionalism, observing his subjects for an entire week before making his decision. Given that Chiba’s “job” is that of the Grim Reaper, the angel of death, his final decision, more often that not, is a very final one. Not that Chiba takes any delight in terminating people’s lives. Quite the opposite. He finds mortal humans fascinating and sympathetic, and regards music as the finest expressions of our souls—not surprisingly, he spends his off hours in record stores. Accompanied by incessant rain (he’s never seen a blue sky) and his dispatcher, a black dog, Chiba watches quietly as the years, the centuries, the millennia drift by.

In the year 1985, Chiba is assigned to follow and judge Kazue Fujiki, a young woman with a tragic tale and an untapped talent for music. The decision he makes about her fate will have surprising consequences when we check in again with Chiba in 2007 and 2028…

Based on the popular novel of the same name by Kotaro Isaka, ACCURACY OF DEATH explores territory not entirely different from that of the smash hit series DEATH NOTE, examining morality and mortality from the point of view of the supernatural beings tasked with striking down the living. The debut feature by up-and-comer Kakehi Masaya, whose background in manga honed his skill with fantastic comedy, ACCURACY OF DEATH takes a far more emotive and humane path, making the Spectre of Death of supremely sympathetic and interesting character. It doesn’t hurt that the role of Chiba is handled by the handsome and charismatic Takeshi Kaneshiro (HOUSE OF FLYING DAGGERS, RETURNER), returning to Japanese cinema after a six-year absence (his involvement was key to Kotaro Isaka’s decision to finally see his book adapted for the screen). A tip of hat goes to art director Takeshi Shimizu, who so effectively evokes each of the film’s three periods—the ’80s, the present and the near future—with careful detailing.

—Rupert Bottenberg