One day, a letter arrives for Ayumu. Because of this letter, the couple become estranged.
(Source: AsianWiki)
~~ Adapted from the novel "Kiiroi Zou" (きいろいゾウ) by Nishi Kanako (西加奈子).", "video": { "@type": "VideoObject", "name": "Yellow Elephant - Episode 1", "description": "Watch Yellow Elephant - Episode 1 online.", "thumbnailUrl": "https://i.hndrama.com/image/drama/aEoD5c.jpg", "uploadDate": "2015-01-15", "embedUrl": "https://hndrama.cc/embed/drama/2105/1", "potentialAction": [ { "@type": "WatchAction", "target": { "@type": "EntryPoint", "urlTemplate": "https://dwish.pro/e/7fjw30wzhtqv" } }, { "@type": "WatchAction", "target": { "@type": "EntryPoint", "urlTemplate": "https://dlions.pro/v/0k6ainceb19w" } }, { "@type": "WatchAction", "target": { "@type": "EntryPoint", "urlTemplate": "https://dood.wf/e/bpx6vd7ape1j" } }, { "@type": "WatchAction", "target": { "@type": "EntryPoint", "urlTemplate": "https://mixdrop.si/e/7kwwrvdoc1z8pw" } } ] }, "actor": [ { "@type": "Person", "name": "Lily Franky", "alternateName": "リリー・フランキー, 中川雅也, Nakagawa Masaya, Masaya Nakagawa", "birthDate": "November 04, 1963", "nationality": "Kitakyushu, Fukuoka, Japan", "description": "", "image": "https://i.hndrama.com/image/people/lily-franky.png" }, { "@type": "Person", "name": "Mukai Osamu", "alternateName": "向井理", "birthDate": "February 7, 1982", "nationality": "Japanese", "description": "Mukai Osamu is a Japanese actor. He graduated from Meiji University and majored in genetic engineering. While he was attending university, he worked as a bartender. He became a full-time employee there after graduation, and he became a manager later. While working as a bartender, he got into the magazine Tokyo Graffiti. A reader later recruited him to be an actor. Mukai's first main role was in the 2006 Japanese television drama Nodame Cantabile.
He has been married to Ryoko Kuninaka since December 28, 2014. They welcomed their first child, a son, in September of 2015. On September 25, 2017 they announced that they are expecting their second child.", "image": "https://i.hndrama.com/image/people/q5oW2_5c.jpg" }, { "@type": "Person", "name": "Ogawa Tamaki", "alternateName": "緒川たまき (おがわ たまき)", "birthDate": "February 11, 1972", "nationality": "Japanese", "description": "Tamaki Ogawa was born on February 11, 1972 in Tokuyama, Yamaguchi, Japan as Noriko Sagawa. She is an actress, known for Samurai Fiction (1998), Kansatsu eien ni kimi wo mitsumete (2007) and Ho gi ra ra (2002). She has been married to Kera since March 6, 2009.", "image": "https://i.hndrama.com/image/people/QJ2pZ7_5c.jpg" }, { "@type": "Person", "name": "Miyazaki Aoi", "alternateName": "宮崎あおい", "birthDate": "November 30, 1985", "nationality": "Japanese", "description": "Miyazaki Aoi is a Japanese actress. She is considered one of Japan's most beautiful women. She is best known for roles such as in "Nana" and "Virgin Snow". Her brother Miyazaki Masaru is also an actor, and they starred together in the film "Hatsukoi".
Aoi started working in the entertainment industry at the age of four. Initially, she appeared mostly in commercials, magazine advertisements, and as an extra in television dramas. Aoi made her film debut in "Ano Natsu no Hi" at the age of fourteen. In 2003, she also made her musical debut in "The Little Prince".
She married Takaoka Sosuke on June 15, 2007, her partner since she was fifteen. However, they divorced in December 2011. Miyazaki Aoi got remarried to Okada Junichi on December 23rd, 2017. They welcomed their first child, a son in October 2018.", "image": "https://i.hndrama.com/image/people/B1E7q_5c.jpg" }, { "@type": "Person", "name": "Honda Miyu", "alternateName": "本田望結", "birthDate": "June 1, 2004", "nationality": "Japanese", "description": "Her debut was in 2010 starring Pizza Hut advertisements but her popularity came with her role in Kaseifu no Mita as Asuda Kii. Untill then she played minor roles in shows like Marumo no Okite, Ikemen Desu Ne (ep1) and Gantz: the perfect answer.
She started to learn ice hockey at the age of 3 and with 4 she took up figure skating because of interest since her eldest brother who's also a figure skater. In 2011 at the competition organized at Kansai University she got the 1st position in the 3rd grader category.", "image": "https://i.hndrama.com/image/people/dXv7b_5c.jpg" }, { "@type": "Person", "name": "Ishikawa Maki", "alternateName": "石川真希", "birthDate": "December 25, 1959", "nationality": "Japanese", "description": "Ishikawa Maki is a Japanese actress born in Tokyo, Japan.", "image": "https://i.hndrama.com/image/people/Z8zK0j_5c.jpg" } ], "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" } ]
}