Hot Gimmick: Girl Meets Boy is a 2019 Japanese coming-of-age romance film written and directed by Yki Yamato. The film stars Mizuki Itagaki, Miona Hori and Hiroya Shimizu in the lead roles. The film is based on the manga series, Hot Gimmick.[1] The film had its theatrical release on 28 June 2019 and received negative reviews from critics.[2] It was also streamed via Netflix on 28 December 2019.[3][4]

Hatsumi Narita (Miona Hori) is an ordinary high school girl. She shares an apartment with her adopted older brother, Shinogu Narita (Shotaro Mamiya), and biological younger sister Akane Narita (Hiyori Sakurada), and parents. One day, she allows the neighbourhood teenage boy Ryoki Tachibana (Hiroya Shimizu) who also lives in the same apartment building to see her. However things go wrong for Hatsumi as Ryoki takes advantage of her weakness and blackmails her to get his wishes fulfilled. Suddenly Hatsumi's neighbour/childhood friend, Azusa Odagiri (Mizuki Itagaki) comes to see Hatsumi and it causes further trouble for Hatsumi as she is bullied and blackmailed by both boys.[5]

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The film announcement was made by director Yki Yamato in 2018 stating that the film would be a live-action film based on the manga series, Hot Gimmick.[1] Principal photography of the film was commenced on 24 September 2018 and shooting of the film concluded in October 2018.[6] On 25 September 2018, Aihara posted regarding the details of the film on her blog.[7] On 17 December 2018, Toei Company, the film's distributor, confirmed the release date as June 28, 2019. On March 14, 2019, the film's full title was revealed to be Hot Gimmick: Girl Meets Boy. and the subtitle was kept as Girl Meets Boy in order to avoid the confusion with the manga Hot Gimmick.[8][9]

Hatsumi Narita is a high school girl who lives with her older brother, Shinogu, her younger sister Akane, and their nowhere to be found parents in a company apartment complex. One day, a neighbor and classmate, Ryoki Tachibana watches her trying to get rid of a pregnancy test and starts blackmailing her to be his slave and do whatever he asks. At the same time, Hatsumi's first childhood love, Azusa Odagiri, returns to the complex, although by now he is a famous idol. Tachibana's actions are soon revealed an awkward expression of love, but Hatsumi decides to date Azusa, who is revealed, though, to have a completely different agenda on his mind. A number of secrets involving their parents are eventually revealed, while the mystery behind the pregnancy test, Shonogu's behaviour, and Akane's role remains.

Yuki Yamato directs a film that begins in captivating fashion, with the mysteries, the secrets, the awkward flirting and the struggle of the characters to grow up and understand who they are and what they want to do providing a very interesting amalgam. The same applies to one of the most common comments in Japanese coming-of-age films, that of the lack of proper parenting, with the fathers and mothers of the protagonists shining through their absence, and their sporadic appearances serving only as to show their faults. The fast pace, with the frequent cuts, the rapid dialogue delivery, and the music video aesthetics as dictated by the bright, occasionally neon colors and the intensely polished cinematography, and the almost constant use of music also work quite well for the movie.

Unfortunately, at mid point, the narrative goes completely off, in an effort to include as many episodes from the manga as possible, which end up unfulfilled and, in essence, make the characters look paper-thin and their actions almost completely unjustifiable. The final comment intensifies this overall naivety, while the music video aesthetics become tiresome after a fashion, as the context becomes less coherent.

The repetition of behaviors that are supposedly shocking dulls their impact, and the actors suffer from the writing, since they have to do the same thing repeatedly, without any particular reason. Yuki Yamato has worked on a number of Nogizaka46 music videos, of which Miona Hori, who plays Hatsumi is a member, and the two seem to have a chemistry, with the latter providing the most convincing performance in the film, at least to a point. On the other hand, Shotaro Mamiya as Shinogu, Mizuki Itagaki as Azusa, and Hiroya Shimizu as Ryoki have very few moments that they actually shine (maybe with the exception of the latter, who has his moments), to the point that it seems the visual and sound package of the film is implemented in order to hide the fact, as much as the faults of the narrative.

My name is Panos Kotzathanasis and I am Greek. Being a fan of Asian cinema and especially of Chinese kung fu and Japanese samurai movies since I was a little kid, I cultivated that love during my adolescence, to extend to the whole of SE Asia.

Starting from my own blog in Greek, I then moved on to write for some of the major publications in Greece, and in a number of websites dealing with (Asian) cinema, such as Taste of Cinema, Hancinema, EasternKicks, Chinese Policy Institute, and of course, Asian Movie Pulse. in which I still continue to contribute.

In the beginning of 2017, I launched my own website, Asian Film Vault, which I merged in 2018 with Asian Movie Pulse, creating the most complete website about the Asian movie industry, as it deals with almost every country from East and South Asia, and definitely all genres.

She must be trying to relay the nightmare of being a teenage girl. Sadly I think people will just write it off as a romance movie or comic adaptation that 'isn't doing it right' when it's obviously something more.

One of the most misunderstood films I've ever seen. Yuki Yamato's Hot Gimmick: Girl Meets Boy almost seems like a title for a movie that must suck, and maybe this film was destined to fail from the very start, because so many people just misinterpret and hate this film for stylistic choices and decisions that weren't just amateurish or made on the fly; rather it was more like everything was already carefully planned out and on purpose from the very beginning.

HOT GIMMICK: GIRL MEETS BOY IS ART IT'S JUXTAPOSING SLAVERY HAREM SCENARIO ONTO A MODERN SETTING (VULGAR) AUTEUR WANNABES LIKE SHINYA TSUKAMATO WISH THEY DIRECTED THIS MASTERPIECE AWWWWW SHIT I DIDN'T KNOW WHY THE BODY COULD HAVE SEX BEFORE IT BECAME AN ADULT BUT I WANNA DO THIS MOVIE RAW AND MIX OUR BLOOD I FINALLY UNDERSTAND WHAT IT'S LIKE TO BE A TEENAGE GIRL

I'm still not sure if this was an indictment of toxic masculinity or an exemplar of its prevalence, but man - those camera angles and edits. It's definitely one of the more stylish manga adaptations of recent memory, but it's seriously weird, man. And I say that while watching the first episode of the 1990 musical cop drama series Cop Rock.

Manga and anime adaptations are a dime a dozen in Japan. Most of them stick safely to the source material, so they can earn their money back without too much effort and risk. When you throw Netflix into the mix though, the rules aren't quite as simply anymore. Netflix is known for giving directors free rein and without the pressure of the box office looming around every corner, things can get a little crazier. And so a film like Yki Yamato's Hot Gimmick: Girl Meets Boy [Hotto Gimikku: Garu Mitsu Boi] can suddenly spring up out of nowhere.

If you're a fan of the manga, better think twice before watching this film. I haven't read it myself, but I'm aware of the shoujo manga tropes (comics aimed at young women) and Yamato clearly has other fish to fry than to deliver a faithful adaptation of the story. Yamato is here to make cinema and simply uses elements from the manga to drive her film. Fans have been complaining left and right after they got their hands on Hot Gimmick, but don't let deter you. Their complaints are nothing more than misplaced fanboy entitlement and baseless whining.

The most surprising thing about Hot Gimmick is that it feel young, modern and contemporary. After doing a quick check on Yamato though, it started to make sense. Young directors (Yamato was 30 when she made this film) are quite rare in cinema, young directors given free rein and a fair budget are pretty much nonexistent. All the more reason to praise her for making the most of this rare opportunity. Rather than turn in a simple manga adaptation, she made a film that feels of the now (which, in cinema terms, is at least 10 years ahead of its time).

The story revolves around Hatsumi, a meek and uncertain girl who is looking for purpose and identity. She's exactly the kind of girl guys fall for, and she's preyed upon by several boys in her neighborhood. There's a studious boy who tries to make her his slave, a childhood friend/teen idol who attempts to wow her with the glitz of show business, and even Hatsumi's brother is having a hard time controlling his feelings for her. Meanwhile, Hatsumi is following whoever offers her the world, but she soon realizes that people's intentions aren't always what they seem to be.

The cinematography is stunning, but a little unconventional. There are some lush tracking shots, Yamato makes excellent use of lighting and the framing is unique, with lots of strange focal points and novel cuts. By itself, the cinematography is outstanding, but it's not the star of the show. It's the editing that made me sit up and take notice. It really makes the screen come to life, by taking all the unconventional shots and stringing them together, creating some kind of moving collage that does an amazing job at capturing the mood of a scene. The pacing of the editing is sure to put some people off, both conventional viewers and more seasoned film fans, as it is quite rapid and intrusive, but that's exactly why this feels so fresh and contemporary.

The soundtrack and sound editing are pretty interesting too. The original music is fine, but nothing particularly original. What jumps out are the reworks of several famous classical pieces. They will sound very familiar (and many of them are in fact overused), it's just really nice to hear them in more modern-sounding arrangements. This adds a little extra consistency and it helps to tighten the mood. But again, it's the sound editing that stands out the most. The dialogues in particular are often fine-tuned to perfection, becoming a barrage of sounds rather than coherent conversations. Words are repeated, pauses between lines of dialogue are removed and the effect is simply glorious. 152ee80cbc

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