BACKSTAGE with Director Donald Flaherty and Actor Morgan Benoit

6 09 2012

Today on CSReview, we’re talking to film director Donald Flaherty and actor Morgan Benoit, and the highlight  of our conversation is the newest and very promising science fiction movie project BRUTAL.

CS: Welcome to CSReview, Donald and Morgan. I am glad to see you both here. Donald, my first question is for you – why science fiction? What appeals to you in this genre?

Donald Flaherty: Science fiction allows you to heighten reality and tell stories that might not necessarily work in any other genre. Sci-fi also allows you to make bold statements and do things that are often impossible at this moment in time. It really allows you push the creative envelope.

CS: Morgan, how does it feel to be on a set of a sci fi movie? Is it any different from any other set?

Morgan Benoit: It feels great! I am a big science fiction fan, I read a lot of fantasy and science fiction (George R.R. Martin, Robert Jordan, C.S. Lewis), so having the opportunity to do a science fiction film was a real pleasure. The Brutal set was quite different from other sets I have worked on. My scenes take place in a cage and in a cell; because of the lighting and how they are set up both sets have a very otherworldly feel to them so that helped me get into character and it was a lot of fun to work in that environment.

CS: What I always wanted to know – is it harder to shoot a sci fi film? Why?

Donald Flaherty: Yes and no. I believe the best sci-fi works when it’s based in reality that the audience can relate to. Creating a world that is both believable and somehow unique and exciting for the audience to discover is the real challenge of the genre. Sci-fi allows for a tremendous amount of freedom when creating your own screen world, unlike a period film where you are constrained by the time period of the story. You can’t have a tank roll through Gone With The Wind. But if you did Gone With The Wind as a sci-fi film, that tank might just be the perfect device to help tell your story.

CS: Interesting perspective there, Donald. I love Gone With The Wind… don’t know if a tank will make it better, but I do hear you about using whatever devices necessary to further the story, to ensure it’s clarity for the audience’s sake. What was the ultimate challenge in producing Brutal? What makes Brutal different from any other sci fi production?

Donald Flaherty: The challenge of producing Brutal was creating and executing the fight sequences in a believable, exciting, and fresh way. Colin Follenweider, the second unit director, and Chris Torres, the stunt coordinator, did an amazing job bringing the fights to the screen. Morgan Benoit and Jeff Hatch, the two lead actors also put blood, sweat and tears into making the fights happen on screen. I can’t express how exciting these sequences are going to be. I think the whole team has raised the bar on fight footage in a film.

CS: I can’t wait to see! Morgan, you have to film against a green screen, does it make you uncomfortable? How do you get past that?

Morgan Benoit: I have never had a problem working with a green screen, I’ve always had a very over active imagination, I think that helps when there isn’t any scenery or props to work with.

CS: It’s great to be able to channel your natural abilities into your profession, Morgan. Donald, are you nervous about Brutal’s upcoming screening? Does it feel like you’re about to set a baby into the world?

Donald Flaherty: I think whenever you do creative work, be it film, painting, music, etc., it is always nerve-racking to put it out in the world. But it’s part of the process and dealing with both the positive and negative reviews is something artists must contend and come to terms with. To be honest, I’m not quite there yet. Maybe someday it will get easier, but right now it still gives me big butterflies.

CS: I’ll be certainly holding my fists for Brutal. OK, tell me this – what was the most remarkable, most memorable event on the set?

Donald Flaherty: The most memorable event, believe it or not, was how easy it was to shoot this film. The team from the top down was amazing. Everyone showed up everyday and brought their “A” game. It was the most trouble-free, low-stress production I’ve ever been associated with. Great people doing great work. I couldn’t have asked for a better experience.

CS: Morgan, you worked with Jackie Chan and David Carradine. What did you learn from these ultimate martial arts masters?

Morgan Benoit: What I’ve learned from Jackie is to be humble, be grateful, never forget where you come from and to work very, very hard. Jackie is always the first one up, he is never late to set even though he could get away with it because he is such a big star and when there is down time you will never find him idle. When he is not in front of the camera he is either working out, or working on the project in some other way. I’ve always tried to emulate Jackie’s work ethic when it comes to establishing my career. David Carradine was also a very talented and hard working individual but it was Jackie who really made a lasting impression on me.

CS: Special lessons come from special people… Having spent so much time in China, what would you say was your ultimate lesson there, what did you take with you when you left?

Morgan Benoit: The most important thing I learned in China is perseverance. When I first started training martial arts in China I couldn’t find a teacher, coaches said I was too tall, too inflexible, started too late, but I worked really hard, I fought through the pain and molded my body and mind into what I wanted to become. I proved to them – and to myself – that I could succeed in Wushu. It was the same when I moved from Beijing to Los Angeles, it was during the writers’ strike, it was difficult to find an agent, a manager, to get any kind of audition at all, but instead of giving up and returning to China I stuck it out, worked hard and found a way forward.

CS: Kung-Fu is am amazing discipline. I am only amateur, but I love every part of it, I think it brings the best of the person who practices it genuinely. Tell me about doing martial arts stunts on the set. Do you always remember where the camera is? Do you get carried away?

Morgan Benoit: I have been doing it so long that I have a good understanding of camera angles, after a while you start to sense the camera and you instinctively know what direction is best and how to angel your body. At first it can be a daunting process, but like anything the more you do it the more familiar it becomes. I have never gotten carried away while working, it’s not a fight, it’s choreography, it’s more like a dance. The choreography has to flow, it has to have rhythm, and intention. I look at fight choreography like a professional pianist playing Beethoven or Mozart, the tempo is always changing, fast, then slow, too hard – then soft. Compare that to someone who isn’t trained just banging on the keys. If that gets carried away and is just fast and hard without rhythm, it doesn’t translate to screen well, and ends up looking slow and awkward.

CS: Where do you envision yourself in five years after Brutal?

Morgan Benoit: In five years I see myself as an extremely successful action actor who can also cross over into serious drama.

CS: And Donald, would you do a sci fi film again?

Donald Flaherty: In a heartbeat. I love the genre.

CS: Thank you for stepping by and talking about Brutal, Donald and Morgan. Wishing you best of luck rounding up production and successful screening!

Copyright Camilla Stein ©2012. All rights reserved.



1 07 2011

Gemini Rising (2011)

Gemini Rising poster design by Camilla Stein

Image Courtesy: Gemini Rising. Poster Design by Camilla Stein

Gemini Rising  is an exciting new science fiction action feature film currently in post-production in Hollywood, with a set of complex characters who are being confronted with an extraordinary situation that puts to test their integrity and everything they are.

The story begins when NASA, while on its deep space mission, discovers an alien spacecraft with a barely alive alien inside. The technology is startling and human logic dictates that a chance like that cannot be missed. The spacecraft is brought on Earth, and on a remote Pacific island, in a military installation, some horrific things start happening…

Image Courtesy: Gemini Rising. Production Design: Madla Hruza.

The movie is being produced in an innovative fashion, which was the crew’s concious choice, calling global community of artists to contribute their skills and passion to the project.  Seeking to unravel several mysteries behind its production, Camilla Stein talked to members of the Gemini Rising  crew-Dana Schroeder, film director/producer at Pathfinder Productions, and Dave Vescio, actor playing a malicious MD in Gemini Rising.

CS: Welcome to Camilla Stein Review, Dana and Dave. It’s great having you two share about your awesome work on Gemini Rising. Some aspects of the movie have been kept under a tight lid, which is understandable. Perhaps you could shed a little more light onto what has been done so far and what is being planned. Dana, you worked in different genres, from drama to comedy. Gemini Rising is your recent science fiction project. Given the movie’s objectives, what was the most demanding part to film?

Dana Schoeder: Probably the greatest challenge of film making is taking a vision and getting it into the “can”. We spend 12 to 14 hour days, working with diverse crew of production design, camera and lighting departments to collaboratively create scenes that will speak to the visual message we wish to send to the audience. It sometimes feels like organized chaos, but when the shot works, it’s like magic. I think any genre of film making suffers the same challenges, but sci-fi adds the complexity of an actor creating relationship and reaction to a green screen, where a visual effects element will be added later.

CS: What makes Gemini Rising unique? Do you stay consistent with the canon of the genre here, or do you experiment with new forms of expression?

Dana Schroeder: I think every genre has a core demographic of committed followers, like horror, sci-fi, action, comedy, romantic dramas, etc. Take Blade Runner, for instance, a core sci-fi demographic, then add an action element, strong dramatic theme, a romantic subplot, and it creates an expanded demographic and larger audience. So, to answer your question, I built the plot to fulfill the canon of the demographic sci-fi audience, and then added elements of stronger character arcs with very capable actors, action sequences, and even a romantic subplot to create more layers to the story. Hopefully that will make it more interesting to a larger audience.

CS: Your approach sounds very involving indeed, no doubt the result will be absolutely worthy. Gemini Rising has a great cast. If you could describe working on the set in one word, what would it be?

Dana Schroeder: Challenging.

CS: That says a lot. What’s the most memorable thing that happened during shooting? Most funny?

Dana Schroeder: John Savage, singing opera backstage… Lance Henriksen in character on and off camera, chomping on his cigar and being the Alpha leader of his band of elite marines, Brian Krause being a bubbly boyish jokester, then hitting his mark with outstanding professionalism when the cameras rolled, Amy Hathaway’s intense determination on and off camera especially when she was beating on the stunt performers, Dave Vescio’s method style as he evolved into the twisted, brilliant and socially inept chief scientist.

CS: Gemini Rising has a most intriguing plot. Knowing that in action movies the story often risks getting overshadowed by the action, how does Gemini Rising deal with this side effect?

Dana Schroeder: I think a plot should evolve like a roller coaster ride. There should be moments of hard pounding action, intrigue teetering on horror, touching romantic interplay, intense drama, etc. If this all works, we give the audience a great ride.

CS: There’s no science fiction without an extraterrestrial element. How much of the human-alien interaction can we expect in Gemini Rising?

Dana Schroeder: There are touching moments. There are terrifying moments. There are intense action moments.

CS: When having aliens on the set, what’s the biggest challenge? Say, a communication problem, or do they tend to dictate their terms and undermine the authority of an Earthling? That last one is a joke. Seriously though, we’ve seen these very cute alien model-hands and are eager to discover what Gemini Rising aliens are like. Are they evil or benign, or are they controversial and are here to stay?

Dana Schroeder: Time will tell. That is part of the ride the audience will experience.

CS: Sounds like you are preparing quite a surprise. Speaking of software, Blender has been chosen for this production. How would you evaluate your experience with this program? Are you planning on using it again for your future projects?

Dana Schroeder: So far, the progress is working out well. We have artists participating from around the world, France, Germany, England, Spain, Eastern Europe, USA, Asia, and the Middle East. We use Blender as the main modeling software, giving all of the participants a way to collaborate with one another. We have 300 blender artists signed up on the web site, over 25,000 views to date, over a 1000 submissions, between 50-100 posts to the site every day. This is definitely a paradigm shift from the normal way of putting visual effects into movies. As far as I know, this has never been done this way before. Will I use this approach again? Darn right!

CS: That’s an incredible pioneer thing you’ve got going there! Thank you for lifting up the veil of secrecy around such an awesome movie project, Dana. Wishing you all the luck with Gemini Rising post-production work and release.

Dave Vescio was cast as Gemini Rising main antagonist. Dave, you have an impressive record of roles and a most intriguing trademark, exploring dark side of human nature. Let’s talk about your villain in Gemini Rising, Dr. Bainbridge. Who is he?

Dave Vescio: Thank you! Well, my character Dr. Brainbridge is one of the top medical scientists in the world (and was actually bred this way by his father), and he’s currently working on a secret military base in the middle of the Pacific Ocean for the U.S. government. And his mission is to figure out how to control combat soldiers telepathically, to create ‘the perfect soldier’.

CS: You’ve previously stated in your interviews that your purpose in portraying bad guys is to create a real-life experience for viewers, a documentary-like effect. How does that reflect on your playing Dr. Bainbridge?

Dave Vescio: Wow, that’s a good question. Well, my goal as an actor is to become my characters for real. And to bring in as many elements of Dave Vescio into these characters as I humanly can, but, at the same time, be the characters as well. And Dr. Bainbridge is an anti-social, tortured, sex driven scientist, which is definitely not me in anyway. I had to do certain things to myself to make this happen for real on set, such as being anti-social towards certain actors on set, causing real life pain to myself (so I can feel tortured in certain scenes), and to seeing women as sex objects because I’m driven to have sex with them and that’s it. Basically, this guy is morally incorrect in so many ways, so I had to make myself morally incorrect as well.

CS: Playing that sounds like quite a challenge. So, how bad your bad guy in Gemini Rising really is? Does he follow a certain code of conduct, or is he a ‘go for it at all costs’ kind of a persona?

Dave Vescio: Let’s say that he has no quam killing another human being. He likes to have sex with a comatose woman (actress Cortney Palm). And he has no regard for anyone’s personal space at all. Basically, he’ll do whatever he has to do, to get what he wants in life. But, the reason he does this screwed up stuff is because he was tortured as a young child by his own father. His father was Dr. Bainbridge back in the day, and he would use his son as a guinea pig in all his scientific studies. So, basically, my character was injected with LSD, electrocuted, and pushed to the limits physically, mentally, and definitely emotionally as a child. That’s why he is who he is.

CS: That is quite horrible! Playing such a complex and dark individual with such a painful history is not a walk in the park. When you first read the script for Gemini Rising, what was your initial impression? Did you know right away that you could do it, be this character?

Dave Vescio: I actually don’t think that I can do any character justice when I first read the script. That’s why I became an actor in the first place, because this stuff really scares the grass out of me. But, I was trained to break down a script and really figure out why this character says what he says and does what he does to the other characters in the story. That’s when the fun stuff begins and I start seeing who these guys are by repeating the dialogue over and over again, and figuring out why they’re saying this or that versus anything else. Plus I’ll do my own research on the side and find out how the other actors will play their scenes as well, and I’ll also talk to the director about the character (if the director likes to direct), and then see what actually happens while we are on set. It’s always a process, which is one of the reasons why I love to act!

CS: While practicing the secrets of your craft and doing all that hard work to make things happen on screen, what in Dr. Bainbridge can you mostly relate to, and what not?

Dave Vescio: I’m not anti-social in anyway. I definitely don’t like to have sex with comatose women; that’s for sure. And I’m not some of Dr. Bainbridge’s other traits as well. For everything else I have a real life sense memory to play off of. As for the anti-social aspect, getting sexually aroused by a comatose woman and so on, I just had to figure out how to do all of that stuff either at home or on set.

CS: There’s a brilliant, in my opinion, torture scene where you are left at the mercy of Colonel Stephen Cencula (Lance Henriksen). It’s been said that doing horror scenes always causes lots of excitement for actors and the entire crew. How would you describe working with Lance and doing this particular act?

Dave Vescio: This scene was a lot of fun. When it comes to doing my own stunts, I’m always the first one in, thinking how to make it look as real as possible; basically doing it for real. I pretty much told the stunt guys that I was working with to just do whatever they had to do to get me down into that medical chair and to strap me down, because I was going to fight them all the way. And when it came time for me to be in horrible pain, I was actually causing myself pain on set as well, to the point, where I was crying for real. As you said before I really do like to make my acting performances look as realistic as possible. That’s what I’m always trying to do on set, making it look and feel like real life. And Lance was great! He’s a pro. And I definitely learned a lot from him.

CS:The alien hands animation I’ve seen is so much fun. In its form before the final wrap-up it seems a bit inconsistent with the perhaps intended image of a creepy alien attached to these hands. Many shots for this movie are done against the green screen. While working on Gemini Rising, what presented the biggest challenge? Did you have any difficulties applying your imagination, placing yourself in the setting?

Dave Vescio: Yes and no. Imagining something is there when it isn’t is really hard for me. But I know some tricks of the trade to making it seem real, like placing a real-life human being in front of me when I’m talking to an imaginary object. That way I’m actually talking to someone. And then, when the camera angle has to show my character as well as the alien one, which is in reality a green screen, I just have a human being stand on the edges of the camera frame. That way I’m still talking to someone even though you don’t see them in the camera shot at all.

CS: That was a very impressive walk through the set, Dave. Thank you for talking to CSReview. It was great having you.

Dave Vescio: And thank you as well, Camilla. I totally had fun!

Trailer Gemini Rising is out! Click here

Courtesy Gemini Rising.

Copyright Camilla Stein ©2011. All rights reserved.

 C A M I L L A  S T E I N  S C I E N C E  F I C T I O N


3 03 2011

Space Battleship Yamato

‘I Will Come Back Alive’


For those of us, the non-Japanese folk, who when asked what we know about Japan were thinking California roll and sushi, now is the time to change that and start thinking Space Battleship Yamato.

Number 1 in the Japanese box office, this sci fi blockbuster hit the screens in December 2010 with everything it’s got and it doesn’t let go! The movie is absolutely a blast and such a fun to watch.

Based largely on the 1974 plot of what is now a cult anime franchise with a 35+ history in Japan, it also contains elements from the anime’s sequels, which in turn don’t spoil an overly amazing impression. It basically feels like a tribute to the Yamato legacy, made into a universally understood and appreciated new product that still has Japanese written all over it, and proudly so.

The story has an old epic at its backbone – a heroic group sets out to save mankind from an unthinkable disaster. Add a little love twist and a few touchy heartfelt scenes, and you have an aspiring space opera, full of action and adventure.

Contrary to the opinion of some critics that the movie does not explore the depth of human emotions but merely brushes over them, Space Battleship Yamato in the view of yours truly does an excellent job in working out conflicts and placing characters in situations of tough choices and heart wrenching decisions. Remember – you are watching a blockbuster, not a soap. Putting forward the intensity of human response to the threat of annihilation, pressure and stress, the movie is all about team work, personal initiative, friendship and comradeship in a very recognizable trademarked Japanese kind of way.

In 2009, when first hearing that Space Battleship Yamato was to be filmed, there came this fear that the movie would repeat the fate of Sayonara Jupiter, where script adaptation by Sakyo Komatsu, the renowned author of the book the movie was based on, failed with flying colors; an otherwise intriguing plot appeared outdated and viewers were unable to connect to what they were seeing on their screens. Luckily so, the script of Space Battleship Yamato defeats that fear. It has been quite well adapted to fit the modern portrayal of the future humans while preserving the original Yamato flavor that was conceived in mid 1970s.

Made with the finest samurai tradition in mind, the movie subtly evokes the theme of a global sense of unity and patriotism, where loyalty and passion always go together, but does it in a unique fashion, with a proper Japanese class and honor. Aiming to channel the best in humanity, nearly every scene here thrills one’s nerves and entertains one’s eyes, calling for a lasting ovation.

Copyright Camilla Stein ©2011. All rights reserved.

View the official Space Battleship Yamato trailer


3 03 2011

The Karate Kid 

The Buzz Of The Summer 2010   


It opens with a farewell, a goodbye to the past, to painful memories and places that trigger these memories. An American teen is set to explore the Orient and to discover that there’s more to life than movies and videogames.

His ordeal, however, turns out to have an ugly twist – bullying. This, to me, is a very good call by the movie makers, since bullying is one of the most tragic and persistent problems in modern schools and needs special attention. The kid learns one life lesson after another, but it all boils down to the old as the world abuse of power, skill and an entrusted position. Pretty meat-and-potato, and not very innovative, however the real kick is not so much in the otherwise tedious plot – it’s literally in… the kick.

Most kung fu action movies tend to be nothing else but study guides for both dummies and professionals alike, under the pretense of promoting character and values. Children of today usually pick that up really quickly and know to tell the difference between a genuine role model and a phony power figure with overblown muscles. In other words, can’t fool the kids.

What The Karate Kid of 2010 does well is showing the beauty of hard work and perseverance, the rewards of patience and adherence to long-term journeys to perfection over quick fixes, something the new generation of teens won’t take from their parents, teachers and caretakers. They need to hear it from someone on their own level, someone who speaks their language and can stir them in the right direction. Youth nowadays is generally overexposed to violence, and it really does feel like a gulp of fresh air to have someone walk in with a statement that true power is not in the count of one’s victims, but in the integrity to keep away from fights and earn respect by turning one’s weakness into strength in an honest competition.

There’s enough smiles and enough tears in this movie. It reads as an open book and everybody is welcome to be a part of it, to find something to identify oneself with. It is not a typical martial arts manual going from one stance to another in the matter of split seconds and leaving you there watch and drool because you can only dream of making at least one move with that much effectiveness and grace, but rather is a dramatic, quick and at the same time exceptionally entertaining presentation of a hidden potential within a human.

The Karate Kid 2010 doesn’t teach children how to fight. It teaches them how to stand up to painful and often unpleasant life experiences. It also teaches them how to see when looking, and to hear when listening.

The movie ends with a surprisingly poetic capture – a snake stance, employed when all other ways won’t work, leaving an impression of a seal stamp on a haiga of a master that is used to finalize the narration. Yet, somehow the viewer knows that the story has just began…

Copyright Camilla Stein ©2011. All rights reserved.

View the official The Karate Kid (2010) trailer


3 03 2011

The Time That Remains

A Voice From Behind The Wall



Sometimes, life throws at us things that over the years become too big to comprehend. Such are natural disasters, pandemic diseases, nuclear explosions, and wars.

In his movie,  released in 2009, Elia Suleiman sets on a journey to explore the genre of black comedy, so as to reveal to us the secret of coping with a tragedy of which the magnitude is overwhelming.

It is the nature of human mind to always look for some form of normality, maybe a little static, but nevertheless, a feeling that your bases are covered, your life has a purpose and your entire existence in a certain place and at a certain time is not meaningless. This is what we, humans, do when gun battles, tanks and security surges are suddenly a persistent part of the daily routine. And this is exactly the focus of The Time That Remains. Half a century of tragedy is squeezed into an hour and a half of a laconic and precisely targeted shock therapy.

Despite its smoothness and an accurately placed hint of suspense, this movie doesn’t truly give you a moment of rest. There’s no wallowing in self-pity here, no destructive mind blowing imagery; even the garden of executions is so well carved into the texture of the surrounding neighborhood that it appears natural despite your mind telling you that what you are looking at is a yelling contradiction to what is humanly acceptable.

There’s also no conflict, in a traditional sense of the word, around which the story would evolve. All there is is a deceptively distanced and only seemingly uninvolved bitterly comic narration about generations of painful struggle to remain human in a filled with nonsense reality, where even a direct participant finds himself merely an observer, trying to just be.

The movie strikes as grotesque, largely satirical, very reflective and detailed. This effect doesn’t wear off till the very last scene.

When telling the truth becomes a taboo, the sensationalism of this movie is found in the peculiar way of drawing attention to what should not be discussed, because the subject makes us uncomfortable.

Elia Suleiman resorts to various means offered by cinematography in order to break the unbreakable, to jump over the wall.

There are no loud graphic scenes in this movie, nothing at all that an adult cannot handle; yet, it is heavily loaded with incredible emotions that run deep in the film’s canvas, leaving you gulp for air at times.

When deciding whether or not to watch this movie, don’t hesitate. Just watch. And prepare lots of tissues, even if you are known for having a thick skin.

Copyright Camilla Stein ©2011. All rights reserved.

The Time That Remains made the official selection for Cannes Festival 2011

View The Time That Remains trailer


2 03 2011


The Japanese Wife

 A Haiku In Motion

Explaining this movie, The Japanese Wife, won’t be so easy – such are all films that aim to bridge barriers, break walls and create a new realm of understanding, based on a newly discovered perception of a common ground that’s always been there, but was kept unnoticed for some unknown reason.

Released in April 2010, the movie clearly attempts to link two worlds, and not just the commonly known main stream version of these worlds, but goes deeper, touches the underlining matter that makes up the society of both cultures, the Indian and the Japanese. Shows life the way it really is, not the way it is being fed off the screen – a long lasting trend in the modern mass media.

Shows how love can go by without a physical element. Doesn’t deny the need of a physical contact yet achieves a neat balance and doesn’t distort the image of platonic love.

It is also a story of selfless service to the loved ones and the community, a sacrifice and a lesson of priorities, telling you what really matters. Because of one man’s commitment and dedication, and his insider’s link into ‘all things Japanese’, something beautiful and memorable happened in a far away Indian village.

With a hint of humor, this love story nearly lands you inside a tearful tragedy, stripping you off a so needed explanation of what happened out there. And then in the matter of seconds you fly on the wings of hope towards the light that only true love can bring you to.

There is an undeniable charm in the way this story floats from one corner of the Earth to another.  A word should also be said about one striking feature that some might still find subject to a profound neglect –  the source of strength, coming from the feminine spirit, overtaking and inspiring.  The power of women.

Filled with passion, the story is narrated in a very calm and simplistic way. Yes, somewhat minimalistic too. Tells how little we need to be happy. The makers of this movie managed to create an impression of  haiku , with character’s reflections captured almost in slow motion, so that the viewer can pause and gaze and allow the touchdown to happen within one’s heart. But, like is the case with all haiku, worded, painted or now filmed, it often goes unappreciated and misunderstood, and always takes time to sink in. Not every one might find it immediately thrilling and amazing. Yet, in the end, it is.

And so is the final verdict – definitely worth it.

Copyright Camilla Stein ©2011. All rights reserved.

View the official trailer for The Japanese Wife

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