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iohourtime · 1 year

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Bad Lands

Ando Sakura x Yamada Ryosuke

Nihon Eiga 107

Hashioka Neri, aka Neri (橋岡煉梨, ネリ) - Ando Sakura

Yashiro Jo, aka Joe (矢代穣, ジョー) - Yamada Ryosuke

A brief summary of the plot is that Neri and Joe lived in the lowest rung of society. They worked for Takajo* in a phone fraud ring. Takajo was the keeper of the potential marks and Neri was the leader of the ukeko (receivers) - the people who collect money from the victims but did not do the actual scamming. Joe just got out of prison and was introduced to work for Takajo by Neri. They came across a large sum of money and somehow got embroiled in an underworld war.

*I can’t find the pronunciation guide, so I think that’s how you say his name.]

(I don't have the actual magazine so I'm using movie stills they've released so far. Please let me know if you notice any errors.)

Sakura Ando, who played Neri in "Bad Lands", said, "I want Neri to be a main character who doesn’t leave much of an impression." It is rare for a heroine to have such an image in Japanese movies; giving off a dry coolness, Neri is at the center of the story where she is surrounded by those who want to trap her and those who will do anything to protect her, and these extreme feelings intermingle in a truly thrilling way. All of the characters with their own strong personalities left an impression on me, and the ensemble of the characters as a whole is wonderful because it is centered around a heroine who is a realist that is not a larger-than-life character that is usually found in [fiction].. With the help of the atmospheric setting of Osaka, the world of "lawless land" emerges, as the title "Bad Lands" suggests.

Speaking of "Bad Lands", the American film "Badlands" (1973) directed by Terrence Malick, which depicts a man and a woman's escape must have been on the director’s mind as well. Kansai's strong noir feel goes beyond typical Japanese cinema and reminds us of the emotionally restrained, adult oriented Western films. How did this worldview come about? We spoke with Sakura Ando and Ryosuke Yamada, who played siblings [in the movie].

-- First of all, I thought Neri's casual demeanor was great. Such heroines are rare in Japanese movies.

Ando: When I first read the script, I didn’t have an image of Neri as a strong protagonist, but someone who wasn’t memorable yet still left a whiff of her existence behind. Because she appeared among many impactful characters, it would be nice if I could play an unremarkable main character. When I first talked to the director, I told him my thoughts and he accepted it. After that, when I read the script, I really wanted to cherish the nuances of Neri’s words and her kindness that can be felt in little things.

-- Yamada-san re-teamed with Harada-san after “Moeyo Ken” (Baragaki: Unbroken Samurai). Joe seems like a grown-up version of Okita Souji in “Moeyo Ken”.

Yamada: I read how Director Harada [described the character] in an article after the film was finished [and thought], so that’s what it was (laughs). I decided before that if Harada-san called, I would be there. I think his set is something that can't be experienced these days. Although gradually, I’ve stopped being scolded, when I saw the director snappily say things that needed to be said to various people, leading to an intense set, I also felt tense.

*Apparently Director Harada has a reputation of being very stern and scary, but it sounds like it is not irrational yelling and more like someone who runs a tight ship?

Ando: It was my first time being part of the Harada team, and I heard that it was really scary, but when shooting started, I was shocked by how fun the Harada team was. It was very cheerful and light. It was flexible. When I read the script, I thought I had a script that was carefully crafted by the director.

Yamada: I think the reason the set was so cheerful this time was because of Ando-san. I think the trust the director had in Ando-san was amazing. I had never seen Director Harada directing with such a big smile (laughs).

Ando: When I said, "I'm scared to drive this Benz," he said, "Well, then Joe will drive." He would say on the spot things like, "Well, let's repeat this line" or "What you just did was interesting, let’s go with that".

Yamada: That's right. I think he's a director who really values the rawness of what happens on set. Harada-san himself is also enjoying what is born out of the set..

Ando: That's why when I was first approached by various departments, saying, "There are action scenes, this kind of scene, that kind of scene, and it is this kind of movie, what do you think?" But I told them, wait a minute, if you solidify all the details from the start like that, it could only become a movie you've seen before, and I also want to play Neri’s rawness more dynamically.. . For example, I felt that it was wrong for Neri to have sharp moves that are common in action movies. So when I got to the set, the director said, "It's okay, Neri doesn't need to do that kind of thing" (laughs).

Yamada: (laughs).

Ando: "Don't fight skillfully, just stay scared" (laughs). That's how he drew out the charm of the character that was born at that time. So it was a lot of fun. I felt the joy of acting with my whole body..

-- So you made use of rawness that was born on set. That's how the worldview of the movie was created.

Ando: That’s right. Another thing I remember well is that it snowed a lot during filming.

Yamada: It was during our shoot in Hikone in Shiga Prefecture. It was really amazing. When the director, Ando-san, and I left the hotel, I said "Wow!" without thinking. It was the heaviest snowfall in Hikone's history [since they started collecting the data]..

Ando: It was a heavy snowstorm with around 10 centimeters of accumulation, so it would be a shame not to make use of it in the movie. I said it would be nice to have a scene of Neri in the snow and the director said, "That's a good idea. Let's shoot!" This is it. (Showing a photo of the snow).

Yamada: Oh~.

Ando: Yama-chan, you couldn't go to the set, right?

Yamada: Yes. Our car couldn’t get there because of the heavy snow. I thought, “They are probably going to shoot in this snow! Wow!”

Ando: That's right, there was a cut with Neri in the snow.

Yamada: If it wasn't for Ando-san's words, the scene wouldn't have happened.

Ando: After we finished filming what was planned for that day, he said, "Okay, let's shoot this." The director and editor (Harada) Eugene-san assembled the scenes that were born out of this on the spot. Since my family also makes movies this way, I felt a sense of security. That’s how the Harada family feels like, and that’s how they do things. I think it's precisely because we have such a relationship of trust that he can say, "Let's go shoot this!" It was a good scene and I think that’s why this set is uniquely attractive.

Yamada: I think the fact that the director can say that right away is a testament to his trust in Ando-san. Also, as you mentioned earlier, the worldview that was born in the movie looked very natural, it was probably the worldview that the director was trying to create, for example, we were asked to overlap our lines.

Ando: Oh~ yes, we were going pon pon pon with the lines. It was that type of rhythm [we were going for] after all.

Yamada: I remember being told to go faster (when I said the lines) really well. People from Kansai speak at a fast pace and they tend to overlap, right? To be honest, I don't know what everyone was saying in the casino scene because they were all talking over each other (laughs).

Ando: (laughs).

Yamada: But I thought it felt real. I mean I don't bother to speak with pauses normally. Looking back now, I realize that the director was really looking for that sense of realism. That's why I think the reality of Kansai felt very alive and it formed the worldview [of the movie].

Ando: Yeah, yeah. When I first read the script, I thought there seemed to be many scenes commonly found in movies, but when we actually started shooting, each person worked hard to bring their characters to life in their scenes. The movie is set in the Nishinari area of Osaka and there are locals appearing in it as well.

Yamada: That's right.

Ando: I think that kind of thing was thorough. Also, there are a lot of charismatic veterans in this film.

Yamada: That's true.

Ando: It was a lot of fun working with those senpais and building up Neri from there. There's a scene where Mandala (Uzaki Ryudo) and I “go to battle” and I wanted to walk in a cool way, but Uzaki-san’s coolness was part of his essence.

-- It's the rock'n'roll aura, isn't it? Originally, he was part of the Downtown Boogie-Woogie Band.

Ando: Yes. It was amazing, I wondered how I could exceed such coolness, but I was like “ah~” at my lack of coolness (laughs).

Yamada: Not at all.

Ando: No matter how hard I tried, I couldn't do it.

-- Uzaki-san and Ando-san have a similar rock’n’roll vibe.

Ando: Oh, I'm happy to hear that.

Yamada: Yes, they’re really cool.

Ando: Namase (Katsuhisa)-san has an interesting way of adding nuances to the Kansai dialect.

Yamada: Ah~.

Ando: Namase-san said "Getsuyoubi no miko-san" as "Geccho hi no miko-san". I tried to imitate what he said. I think it's kind of nice that Takajo and Neri are naturally speaking in the same way. That's how I absorbed various things from the senpais and used them in my acting. Speaking of which, Yama-chan. Yama-chan was really amazing.

Yamada: Not really.

Ando: You know, it's different. It's really amazing for us to be able to work together. After I finished watching the movie, I said to the director, "Isn’t Yama-chan dangerously good?"

Yamada: No, I was not that good (laughs).

-- There is a scene where the two of you and Mandala did something violent to someone. It seemed that something surprising happened during the actual filming.

Yamada: That's right. It's the scene where the three of us are together.

Ando: In [the rehearsal] for the scene where we did something very violent, I had to make this person drink an alcohol called Spirytus*, but when I said, "Wow, I can’t do it," Yamada-kun said, "Well then, I'll do it."

*Per google, this Polish spirit is 76% alcohol. That will burn like crazy!

Yamada: That's right (laughs).

Ando: But when it came to the actual take, I gradually got on board and said “Yes, I'll do it” (laughs).

Yamada: In the end, Ando-san made him drink it (laughs). I was surprised when she suddenly did that during the actual take. I thought, “You’re really into it.”

Ando: (laughs).

Yamada: Because she will do something like that for the first time on set, the filming was really fun.

Ando: Another thing that was amazing was the scene with the hardcore dude.

Yamada: Haha. Hardcore.

Ando: We were taking down the hardcore dude. I talked about it a little bit earlier, but the fight choreography team came up with these cool actions. But taking into account Neri and Joe’s character, I wondered if “this cool action works”.

Yamada: Because it was the type of moves you see often in an action movie.

Ando: I thought the film suddenly became an action film, with cool action and all, but when I finally did it, it turned out to be pathetic action that looked like it was fluke.

Yamada: Have you seen such pathetic action scenes?

Ando: What pathetic moves are those? (laughs).

Yamada: Mandala and I were shouting threats and dragging a pipe chair, and I threw the bag that fell off it towards the enemy, but it hit Neri-nee (laughs).

Ando: Yes, yes (laughs).

Yamada: Isn't that kind of realistic? It’s like “Uh~, that happened”.

Ando: For that scene, the script had a note saying there was “bang bang” from the gunshots, but there was a problem with the prop gun we were using. So in the end, Uzaki-san, who played Mandala, just made the sound effect himself..

Yamada: He went "Bang bang" (laughs).

Ando: It was really cute. I think Mandala, Joe and Neri made the best trio.

Yamada: It was lame-cool, wasn't it?

-- It’s a set you want to keep working on, right?

Yamada: Really.

Ando: Yes. It really was.

Yamada: Yeah, it was fun.

-- Looking back on the shoot, please tell us what you’re thinking now.

Ando: When I was young, although it was rare, I had met characters who made me feel like they were showing rawness every second. It can’t help being fun to find things while filming. It’s like I was Mario going pepepepe~.

Yamada: You're invincible (laughs).

Ando: I don't know if I'm invincible (laughs). Mario had amazing jumping power in those times, but when I played Neri, I could jump twice as much as usual, and my body moved so much, it was super fun. I was really glad to be able to meet such a role on set in these days and ages. I felt joy!

Yamada: Of course, it was great playing Joe, but moreover, I was able to appear in Harada-san's and work with Ando-san playing the person closest to her, and that to me was the real treasure in my acting career. But above all, I was able to see Ando-san up close and personal, so I was the happiest ever.

-- I think that was reflected in the relationship between Neri and Joe. What can you say about this pair of siblings?

Ando & Yamada (looked at each other): Eh (laughs)?

Ando: I thought they were the strongest partners (laughs). Even though they were useless, they balanced each other out very well.

Yamada: That's right, In Joe’s mind, Neri was his favorite sister. He called himself a psychopath but he was able to love properly. He showed his feelings quite a bit, and when you read the movie’s pamphlet, you might think he was a cool guy, but...

Ando: He was not cool at all (laughs).

Yamada: He was a cheerful little brother (laughs). But if it was for his sister’s sake, he wouldn’t care about himself and he would get his hands dirty no matter how dangerous the situation was. In those scenes, the screws came off and well, he was crazy.

Ando: But on the other hand, a psychopath… I think Neri would think “that’s so not true”.

Yamada: That's right (laughs).

Ando: She thought he was just an idiot (laughs).

Yamada: True! People who think they are psychopaths are probably not psychopaths (laughs).

Ando: (Imitating Joe) Yes .

Yamada: Haahaha. Joe was just an idiot. A lovable guy.

Ando: That's why I was surprised by the cool Joe later in the movie; I was fascinated. That was really amazing.

Yamada: No, he was just an idiot (laughs).

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#Nihon Eiga 107 #Bad Lands #2023 #Japanese movie #interview #Ando Sakura #Yamada Ryosuke #translations #Youtube

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talesofedo · 1 year

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Picture from Google

Let's talk Shinsengumi haori.

Without a doubt, the Shinsengumi's asagi-color haori, with its white Yamagata sleeve pattern, is one of the most recognizable items of the Edo period, both in media specifically focused on the Shinsengumi and perhaps in general.

So recognizable, in fact, that there was a lot of confusion when the most recent Shinsengumi movie, 2021's Moeyo Ken (Baragaki: Unbroken Samurai in the international release), did not feature it at all, opting instead for an all-black uniform. Not to mention the complete WTF moment that is the red-and-black uniform of 2002's Mibu Gishiden (When the Last Sword Is Drawn in the international release).

But ... what's the historical basis of the asagi-color haori?

Yamamura Tatsuya, researcher and author of many books on both the Shinsengumi specifically and the Bakumatsu period generally, and consultant on movies, documentaries, TV shows, and various other media, says there are several eyewitness accounts in records of the Aizu domain that describe the haori:

In 騒擾日記 (Sojo Nikki): "Fifty-two of them, who called themselves Mibu Roshi, were uniformly dressed, wearing haori of asagi-iro with a white pattern on the cuffs."

This account dates to the Coup of 8.18 (Bunkyu Coup), which took place at the end of September 1863 using the Western calendar.

Two things that are interesting here: (1) the haori was made while they were still the Mibu Roshigumi, as they weren't given the name Shinsengumi until after the Coup, and (2) all of them were uniformly dressed in haori at this time.

In 文久元治亥子太平録 (Bunkyu Genji Boishi Taiheiroku - I think that's how it's read?): "Asa haori with sleeves marked in white with triangular shapes."

This entry helpfully included a drawing of three connected triangles alongside the description, making it clear what these looked like.

(Asa is Japan's linen, but I'm always hesitant to translate it as linen because it's made from domestically-grown plants, typically hemp, ramie, or wisteria, while linen in the general use of the word refers to material made from flax, which wasn't grown in Japan until the Meiji period.)

Additionally, I found other notes from 文久元治亥子太平録, including one from 3.25 Bunkyu 3 (1863) when Aizu retainers went to see the Mibu Roshigumi, who were "wearing clothes of the same color, with a crest" and "having a uniform cloak made", for which 2 ryo was provided by Aizu in addition to the general allowance the Mibu Roshi received from the domain.

In addition to the period eyewitness descriptions from Aizu retainers, the haori are also mentioned in both "Shinsengumi Tenmatsuki", Nagakura Shinpachi's serialized recollections of the Shinsengumi, and in "Shinsengumi Ibun" by Shimozawa Kan, recording the recollection of Yagi Tamesaburo, the son of the Yagi family.

Nagakura: "The haori was only worn for official duties and the asagi sleeves were dyed with dandara, just like the costumes worn by the Ako ronin in the Chushingura."

Yagi: "There was a uniform. It was a light asagi color haori with white mountain patterns dyed into the hem and sleeves, like the costumes of the Ako ronin."

Yamamura, however, believes that Shimozawa Kan's record of Yagi Tamesaburo's recollection may have been embellished by giving not only the information that both the hem and sleeves were dyed with the white pattern, but also offering specific information on the number of patterns on each. In later writings, such as "Shinsengumi Monogatari", in which Shimozawa reuses some of the information from "Shinsengumi Ibun", those details were removed.

---

Summary:

The famous blue Shinsengumi haori undoubtedly existed, even if there are no surviving examples.

It was made from asa, a kind of linen usually made from hemp or ramie, and did have white triangular shapes dyed into the sleeves.

It is first mentioned in Aizu records is in the 3rd month of Bunkyu 3 (late April 1863) and appears to have been worn as a duty uniform by all of the troops while they were still the Mibu Roshigumi.

However, perhaps because unlined asa is not a durable material and a lot of new members were recruited, the uniform became less of a uniform, with only some members wearing it while others did not.

The last mention of the haori was after Ikedaya, meaning that it was only used for a little more than a year.

Shortly after Ikedaya, the Shinsengumi went to a black uniform that included black haori and black hakama, as seen in the most recent Moeyo Ken movie.

This uniform was described by Watanabe Noburo: "The black clothes and hakama of the people following me immediately identified them as Shinsengumi."

I'm speculating, but it was probably cheaper to buy black haori and hakama for a group that was increasing in size, and those materials were likely more durable and more popular than the original haori.

The original haori appears to have been an attempt at creating a uniform that would stand out but was inexpensive, since the asa cloth and the indigo dye used to create the light blue color, as well as sewing the haori without a lining, would have been a fairly low-cost option.

Picture from Google

Let's talk about another feature of the haori that is often seen in Shinsengumi media, such as Hakuoki in the picture above: the extra-long haori himo.

I have yet to find any historical source for its existence and while I'm unwilling to say that I am 100% sure it didn't exist (largely because never say never), I am about 99.9% sure it didn't.

Here's why:

(1) If several Aizu retainers and several additional people felt it helpful to describe the material, color, and dye pattern of the haori in detail, they certainly would have mentioned an extra-long haori himo.

(2) Extra long haori himo do not exist in any period sources: I have looked at literally thousands of photos from the late Edo and early Meiji period, including many many portraits, and there's just no such thing. The same holds true for woodblock prints, including prints of actors playing characters in the Chushingura. So again, while I can't say I've looked at all the things, I can say I've looked at a lot.

There is a mention of someone wearing extra long haori himo in the book 明治・父・アメリカ (Meiji, Father, America) by Hoshi Shinichi.

Hoshi writes about the experiences of his father, Hoshi Hajime: "At that time [ 1888-1919] only officials wore Western-style clothing and most people wore Japanese clothing. ... I came up with an idea, to make a very long haori cord, even if it's made from cheap thread. It was unnecessarily long. It was strange, but felt stylish. When I wore it to school, it became a hot topic and some of my classmates imitated it. Eventually, they began to tie the ends and twist them to be hung around the neck. ... It became a bit of a trend."

I don't know when those extra long haori himo crept into Shinsengumi films, but they are already shown in the 1935 movie エノケンの近藤勇 (Enoken no Kondo Isami), which is on YouTube.

That was the earliest movie for which I was able to find video or images, but there are several older ones I'm aware of: a 1934 silent film, 新撰組悲歌 (Shinsengumi hika) and a 1914 silent film, Kondo Isami. I know there are no copies of the 1914 film, but there may possibly be some of Shinsengumi hika that I haven't found yet. So it's still possible that the fashion of long haori himo for Shinsengumi movie costumes might predate the 1935 film.

As always, if you have more info, please add in comments or reblog!

#shinsengumi #shinsengumi haori #shinsengumi uniform #asagi haori #dandara haori #history notes #historical notes #history research #historical research #history reference #historical reference

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cinemaronin · 2 years

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#asian cinema #september #recap #asian movies #twitter

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ysmtkm-l · 1 year

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#film

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daeva-agas · 3 years

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....................... Guys, guys, y’all really shouldn’t have cast Itou Hideaki as Serizawa, it’s giving me funny thoughts :’D

Like, I think my first real “encounter” with Serizawa was in Kaze Hikaru, where he’s portrayed as somewhat sympathetic. He’s a disaster, but not a bad person. Just, you know, that time period is not really a good time to be indulging disasters.

The preview shots of Serizawa is reminding me of the Akaseka one. In Akaseka he’s kind of sort of maybe well-meaning, like he isn’t purposely trying to wreak havoc or anything, but he’s still mostly a garbage dumpster fire. He gets drunk all night long, probably causing chaos outside, a sleaze, and Hijikata is always yelling at him... The only he’s got going for him in what little I’ve seen is he hot.

Lawd, I’m 100% fuelled by thirst hhhh...

#moeyo ken #baragaki unbroken samurai #movie

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storge · 2 years

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Ito Hideaki | Baragaki: Unbroken Samurai “Moeyo Ken” (2021)

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genkinahito · 3 years

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Whole, Lupin’s Daughter, Baragaki: Unbroken Samurai, Skeleton Flowers, Bunshi no Neiro A scientist and a Musician, Pretenders, MIRRORLIAR FILMS plus, and Other Japanese Film Trailers

Happy Weekend! I hope you are well. This week, I have been covering films at the Yamagata International Documentary Film Festival 2021. My reviews include International Competition winner Inside the Red Brick Wall, Afternoon Landscapes, and Transform!. All of these were fascinating and I am really happy that I got the chance to see them. I have a few more reviews to come from the fest so please…

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#Aruki hajimeru kotoba-tachi hyouryuu posuto 3.11 O tazunete #Baragaki: Unbroken Samurai #Bunshi no Neiro A scientist and a Musician #Gekijouban Otoppe Papa Don&039;t Cry #Japanese Film Trailers.#Lupin’s Daughter #MIRRORLIAR FILMS plus #Pretenders #Skeleton Flowers #Whole

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recentanimenews · 3 years

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'Evangelion 3.0+1.0,' 'BELLE,' 'JUJUTSU KAISEN 0,' Nominated for Japan Academy Film Prize for Animation of the Year

The 45th Annual Japan Academy Film Prize, Japan's top award show for domestic Japanese films, announced their nominees today for the award show's top categories, including Picture of the Year, Animation of the Year, Director of the Year, all the actor categories, and more, revealing that Evangelion 3.0+1.0: Thrice Upon a Time is competing against JUJUTSU KAISEN 0 for Animation of the Year, which Demon Slayer -Kimetsu no Yaiba- The Movie: Mugen Train won last year.

Picture of the Year  

God of Kinema

Last of the Wolves

Under the Open Sky

Drive My Car

In the Wake

Animation of the Year

Sing a Bit of Harmony

Fortune Favors Lady Nikuko

JUJUTSU KAISEN 0

Evangelion 3.0+1.0: Thrice Upon a Time

BELLE

Director of the Year

Kazuya Shiraishi (Last of the Wolves)

Takahisa Zeze (In the Wake)

Miwa Nishikawa (Under the Open Sky)

Izuru Narushima (A Morning of Farewell)

Ryusuke Hamaguchi (Drive My Car)

Outstanding Performance by a Male Actor in a Leading Role

Takeru Satoh (In the Wake)

Masaki Suda (We Made a Beautiful Bouquet)

Hidetoshi Nishijima (Drive My Car)

Tori Matsuzaka (Last of the Wolves)

Koji Yakusho (Under the Open Sky)

Outstanding Performance by a Female Actor in a Leading Role

Yuki Amami (Rogo no Shikin ga Arimasen!)

Kasumi Arimura (We Made a Beautiful Bouquet)

Mei Nagano (And, the Baton Was Passed)

Mayu Matsuoka (Kiba: The Fangs of Fiction)

Sayuri Yoshinaga (A Morning of Farewell)

Outstanding Performance by a Male Actor in a Supporting Role

Hiroshi Abe (In the Wake)

Ryohei Suzuki (Last of the Wolves)

Shinichi Tsutsumi (The Fable: A Hitman Who Doesn’t Kill)

Taiga Nakano (Under the Open Sky)

Nijiro Murakami (Last of the Wolves)

Outstanding Performance by a Female Actor in a Supporting Role

Satomi Ishihara (And, the Baton Was Passed)

Kaya Kiyohara (In the Wake)

Mitsuko Kusabue (Rogo no Shikin ga Arimasen!)

Nanase Nishino (Last of the Wolves)

Suzu Hirose (A Morning of Farewell)

Outstanding Foreign Language Film

Tailor (Greece)

Nomadland (United States)

Minari (United States)

No Time to Die (United Kingdom)

Dune (United States)

Newcomer of the Year

Mio Imada (Tokyo Revengers) NOTE: Live-action film

Nanase Nishino (Last of the Wolves)

Touko Miura (Drive My Car)

Ai Yoshikawa (Honey Lemon Soda)

Hayato Isomura (A Family) / (What Did You Eat Yesterday? The Movie)

Ukon Onoe II (Baragaki: Unbroken Samurai)

Hio Miyazawa (Kiba: The Fangs of Fiction)

Fukase (Character)

While not every film or actor is a winner, everyone who is nominated will be given an Award for Excellence, which also includes a statue. The awards will be given out on March 11 in a ceremony at Grand Prince Hotel New Takanawa in Tokyo.

Source: Oricon

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Daryl Harding is a Japan Correspondent for Crunchyroll News. He also runs a YouTube channel about Japan stuff called TheDoctorDazza, tweets at @DoctorDazza, and posts photos of his travels on Instagram.

By: Daryl Harding

#Anime #News #Latest in Anime News by Crunchyroll!

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