I must say I am definitely a bit surprised how low the rating here on imdb is for "Soushite watashitachi wa pûru ni kingyo o," aka "And So We Put Goldfish in the Pool." aka "So, We Draw Goldfishes..." because this film written and directed by Makoto Nagahisa was a fairly good watch all in all and even more impressive for a rookie effort as Nagahisa has never made another film before this one. But I sure hope he will do several others afterwards. There were some nice symbolisms in her as always with Japanese films and they did not feel fake or forced, but added to the film's authenticity. It felt dramatically relevant enough with some fun moments too, nothing too much in your face, but rather subtle as you would expect. Even with me coming from a completely different corner of the planet and not knowing any cast members, it was easy for me to enjoy this half hour, or rather 27 minutes. Grown-ups can relate to the film and characters as much as teenagers I guess. Of course, make sure you got subtitles if you aren't fluent in Japanese. Overall, this little underseen film gets a thumbs-up from me and I recommend checking it out.
3 Reviews
Flawed, but it's definitely got (teen) spirit.
Jeremy_Urquhart14 April 2024
Small-town angst, teenage existential crises, jealousy, small acts of rebellion, manic punk energy, the same sorts of themes/narrative ideas found in many of Bruce Springsteen's best 1970s songs... if any of that sounds intriguing, then I guess And So We Put Goldfish in the Pool is worth checking out. It's definitely got style and a distinct personality, perhaps even being too aggressive in those departments for its own good at times. But it does hit hard when it needs to, and it's certainly distinctive as far as presentation and energy go.
But it's bombastic and all over the place in a way that can hinder the whole thing, rather than help. I'd have enjoyed it more had it been reined in a bit, but I respect the decision to give it that crazed momentum (contrasting with tedium and a lack of escape) as something that felt unique. Less forgivable is having that weird scene with the brother talking to his webcam but not following up on that at all. Unless I missed something, why bother? Especially because most of the other little tangents and side characters/subplots were addressed in narration right near the end. A misstep like that sticks out more in a short film than a feature film, I feel.
But it's bombastic and all over the place in a way that can hinder the whole thing, rather than help. I'd have enjoyed it more had it been reined in a bit, but I respect the decision to give it that crazed momentum (contrasting with tedium and a lack of escape) as something that felt unique. Less forgivable is having that weird scene with the brother talking to his webcam but not following up on that at all. Unless I missed something, why bother? Especially because most of the other little tangents and side characters/subplots were addressed in narration right near the end. A misstep like that sticks out more in a short film than a feature film, I feel.
Best of 2017 so far
george-napper25 May 2017
Art happens when humans communicate some part of the human condition to other humans. Whether it's futility, love, loss, humor, or tragedy, true art has a lasting impact rooted in genuine emotion.
Such is the case with Makoto Nagahisa's 'And So We Put Goldfish in the Pool.' A distinctive debut short film with a signature voice, 'Goldfish' follows four fifteen-year-old girls who we come to understand profoundly within the 27-minute running time. Nagahisa has a brilliantly light touch, straining the girls' monologues through a series of kinetic montages not unlike 'Run Lola Run.'
The group deals primarily with the doldrums of small-town life, but Nagahisa wisely doesn't patronize. Even the off-the-wall moments of comedy and magical realism he employs don't feel as much like a cinematic construction as they do a whimsical illustration of the onset of angst.
There is a period in all of our lives when we haven't grown up yet, and we'd like to, but we're still deciding whether or not it's a cool thing to do. Many films have explored this highway of early pubescence, but 'Goldfish' is so fresh and original in its take that it threatens to leap off the screen and take you on an adventure.
Maybe, as the ending suggests, suburban frustration is part of the adventure of life. After all, the rest of the film tells us it can be just as vibrant as what we dream will come next.
Such is the case with Makoto Nagahisa's 'And So We Put Goldfish in the Pool.' A distinctive debut short film with a signature voice, 'Goldfish' follows four fifteen-year-old girls who we come to understand profoundly within the 27-minute running time. Nagahisa has a brilliantly light touch, straining the girls' monologues through a series of kinetic montages not unlike 'Run Lola Run.'
The group deals primarily with the doldrums of small-town life, but Nagahisa wisely doesn't patronize. Even the off-the-wall moments of comedy and magical realism he employs don't feel as much like a cinematic construction as they do a whimsical illustration of the onset of angst.
There is a period in all of our lives when we haven't grown up yet, and we'd like to, but we're still deciding whether or not it's a cool thing to do. Many films have explored this highway of early pubescence, but 'Goldfish' is so fresh and original in its take that it threatens to leap off the screen and take you on an adventure.
Maybe, as the ending suggests, suburban frustration is part of the adventure of life. After all, the rest of the film tells us it can be just as vibrant as what we dream will come next.
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