Natsumi Yukihira (Ryoko Shinohara) receives secret documents of an organization that controls the country from the shadows. Because of this, Natsumi's ex-husband, Kazuo Sato (Teruyuki Kagawa) pays a terrible price. Natsumi goes back to the Investigation #1 of Tokyo Metropolitan Police Department to take on the organization, but Natsumi becomes involved in a new case. She gets closer to the final enemy.
Shimako Sato
Director
Ryoko Shinohara
Natsumi Yukihira
Koichi Sato
Michitaka Ichijo
Kento Nagayama
Naoki Tsushima
Sadao Abe
Yuji Kokubo
Masaya Katō
Kaoru Mikami
Susumu Terajima
Tetsuo Yamazaki
Mion Mukaichi
Mio Yukihira
Ryohei Kurosawa
Masaomi Takebe
Kotaro Yoshida
Chief of Special Investigation Team
Kotaro Yoshida
Chief
Arata Takase
KIMI is the main character of this film and as much as I wish it was Angela Childs played by Zoe Kravitz, it isn't. KIMI is a smart device that works not unlike Amazon's Alexa and Google's Nest assisting in anything from home purchases to music playing all under the guise of only activating when in use.
Gotham City Sirens needs a female voice behind the camera. So, on the chance someone from DC films is reading this, here are ten female directors who would be good choices for Gotham City Sirens.
"Rodgers' & Hammerstein's Cinderella" wasn’t just a fairytale, it's a Black girl's fairytale. It was a fantasy world where the undeniable beauty of Black girls and Women was celebrated and beloved.
"Warrior" is a Bruce Lee written and inspired story that follows a diverse cast of Chinese American characters and does a terrific job of setting the story in 1878 San Francisco - all without pulling their punches with the systemic racism, discrimination, and struggle for power that old and young immigrants that crossed the country at that time had to go through.
Viola Davis is an EGOT pioneer and trailblazer advocating for diversity and opportunity in Hollywood. See the legendary actresses' rise to critical acclaim.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.