(Source: Netflix)
~~ Adapted from the manga series "Gunjo" by Ching Nakamura.", "video": { "@type": "VideoObject", "name": "Ride or Die (2021) - Episode 1", "description": "Watch Ride or Die (2021) - Episode 1 online.", "thumbnailUrl": "https://i.hndrama.com/image/drama/67KnW_4c.jpg", "uploadDate": "2021-05-04", "embedUrl": "https://hndrama.cc/embed/drama/12930/1", "potentialAction": [ { "@type": "WatchAction", "target": { "@type": "EntryPoint", "urlTemplate": "https://dwish.pro/e/yj9gat7ory59" } }, { "@type": "WatchAction", "target": { "@type": "EntryPoint", "urlTemplate": "https://dlions.pro/v/xwj4bs66jflp" } }, { "@type": "WatchAction", "target": { "@type": "EntryPoint", "urlTemplate": "https://dood.wf/e/apxy8l0fvnxo" } } ] }, "actor": [ { "@type": "Person", "name": "Suzuki Anne", "alternateName": "鈴木杏, すずき あん, Anne Suzuki", "birthDate": "April 27, 1987", "nationality": "Setagaya, Tokyo, Japan", "description": "", "image": "https://i.hndrama.com/image/people/anne-suzuki.png" }, { "@type": "Person", "name": "Maki Yoko", "alternateName": "真木よう子", "birthDate": "October 15, 1982", "nationality": "Japanese", "description": "Maki Yoko, born in Inzai, Chiba, is a Japanese actress who made her film debut at the age of 19 in the 2001 film "Drug". Her film career sprung when receiving a role as Aya in the highly modernized remake of the Japanese vengeance film " "The Princess Blade". Maki later began performing on stage in the 2002 play Cross.
From 2008 to 2015, Maki was married to former-actor Reo Katayama, with whom she has a daughter in 2009.", "image": "https://i.hndrama.com/image/people/XJ5dJ_5c.jpg" }, { "@type": "Person", "name": "Mizuhara Kiko", "alternateName": "水原希子", "birthDate": "October 15, 1990", "nationality": "American", "description": "Mizuhara Kiko is an American/Japanese model, actress and singer based in Tokyo. Her father is American and her mother is Japanese (Korean descent). She is a former exclusive model for the Japanese magazine ViVi and the Japanese edition of Seventeen. She debuted as an actress in the film "Norwegian Wood".", "image": "https://i.hndrama.com/image/people/d0yY6W_5c.jpg" }, { "@type": "Person", "name": "Tanaka Tetsushi", "alternateName": "田中哲司", "birthDate": "February 18, 1966", "nationality": "Japanese", "description": "Tanaka Tetsushi is a Japanese actor from Suzuka City, Mie Prefecture.
After graduating from Kaisei High School in 1984, he immediately moved to Tokyo and went on to a vocational school for acoustics, but he quit after a year. He then went to the Department of Theater at Nihon University College of Art and graduated in 1990.
On December 15, 2015, he won the 50th Kinokuniya Theater Award Individual Award at the SIS Company performance for "RED".
His wife is actress Nakama Yukie. They married on September 18th, 2014. In June 2018, they had identical twins, boys.", "image": "https://i.hndrama.com/image/people/Xv6Wxc.jpg" }, { "@type": "Person", "name": "Sato Honami", "alternateName": "佐藤穂奈美, さとうほなみ, ほないこか, Honami Sato", "birthDate": "August 22, 1989", "nationality": "Tokyo Prefecture, Japan", "description": "Looking for opportunities outside of the stigmatized band, drummer Hona Ikoka has decided to become an actress. She has signed with Oscar Promotion, home of the likes of Aya Ueto and Yonekura Ryoko. For her acting career, Hona Ikoka will become “Sato Honami.” She will be using her real name as an actress but using the hiragana form (さとうほなみ) as opposed to the kanji form (佐藤穂奈美). But for those who are fans of her drumming, all is not lost. She will continue to be in Gesu no Kiwami Otome. Honami said that she wants to challenge herself to do a wide range of things she wants to do, even if she’s never done them before.", "image": "https://i.hndrama.com/image/people/sato-honami.png" }, { "@type": "Person", "name": "Niiro Shinya", "alternateName": "新納慎也, にいろ しんや, Shinya Niiro", "birthDate": "April 21, 1975", "nationality": "Kobe, Hyogo, Japan", "description": "", "image": "https://i.hndrama.com/image/people/niiro-shinya.png" } ], "director": [ { "@type": "Person", "name": "Hiroki Ryuichi", "alternateName": "廣木隆一", "birthDate": "January 1, 1954", "nationality": "Japanese", "description": "Hiroki Ryuichi is a Japanese film director. He won critical acclaim for 800 Two Lap Runners. Film critic and researcher Alexander Jacoby has described Hiroki as "one of the modern Japanese cinema's most intelligent students of character".
Of the directors who have graduated from “pink film” to the mainstream, Hiroki has remained perhaps the most faithful to his origins: he continues to make films on sexual themes, though titillation has given way to analysis. In the eighties, after serving as assistant to prolific “pink” director Genji Nakamura, he made pornographic films for both straight and gay audiences; likewise, his first mainstream feature, 800 Two Lap Runners (1994), explored both hetero- and homosexual feelings in its account of the awkward relationship between a teenage runner and the former girlfriend of the dead trackmate with whom he once had a sexual experience.
Hiroki’s next film, Midori, was another drama about adolescent emotions, focusing on a disaffected high school girl who feigns illness to spend time with her boyfriend. Female protagonists continued to be central to Hiroki’s most interesting work, which dealt with young adults and with their sexual conduct in the fragmented society of modern urban Japan. Tokyo Trash Baby, Vibrator, and Girlfriend: Someone Please Stop the World were all moving, understated films about lonely, alienated women seeking solace in romantic fantasy and transient attachments.
Hiroki shot these films on digital video, and his informal style, with its loose compositions and low-key performances, effectively dramatized the haphazard lives of his protagonists, insecure both in work and relationships. Darker and more melodramatic in the plot was L’Amant (2004), a coolly observed account of a teenage schoolgirl who sells herself for a year as a sex slave to three brothers. By refusing to pass judgment on the perverse actions it depicted, Hiroki’s detached style forced the viewer to confront his own taboos. The director again explored the extremes of sexual behavior in M (2006); described by Jasper Sharp as “a Belle de Jour for the internet age,” it charted the experiences of a housewife who begins to work as a prostitute after receiving an email from a dating website.
Besides these troubling and emotionally complex films, The Silent Big Man was an unexpectedly chaste academic work, set safely in the past, and prettily photographed against the scenic backdrops of the Inland Sea. Recalling Keisuke Kinoshita in its story of a mute teacher assigned to an island school, it lacked Kinoshita’s skill for melodrama, and though Hiroki’s dry style restrained its sentimentality somewhat, he seemed ill suited to the material.
Happily, with It’s Only Talk, a subtly compelling chronicle of the life of an unemployed thirty-something woman suffering from manic depression, Hiroki returned to his more fruitful preoccupation with the problems of contemporary urban life. Here his use of locations in Tokyo’s down-at-heel Kamata district was especially well judged, anchoring the drama in a near-documentary record of a specific place. Love on Sunday, meanwhile, revisited the territory of the director’s earliest mainstream features, exploring adolescent emotions as it charted a teenage girl’s last 24 hours in her country home. In his recent work, Hiroki has proved himself one of the modern Japanese cinema’s most intelligent students of character, as well as one of the most precise analysts of Tokyo’s twenty-first-century zeitgeist and Japan’s twenty-first-century malaise.
(Source: A Critical Handbook of Japanese Film Directors)", "image": "https://i.hndrama.com/image/people/6DKgW_5c.jpg" } ]
}