both begins and ends with a funeral while throwing a story of one in the middle. One is real, one is fake. And one shows why all-important moments are actually a mixture of both.

That bizarre and backwards truism is a useful way into this movie — the rare example of a film actually introducing a new, unique and instantly identifiable voice, at least one that doesn't also happen to be Wes Anderson. But writer/director Hikari's new film is exactly that: a frenetic, contemplative and beautifully jumbled mess of a narrative that, supported by gorgeous music by Alex Somers and Jónsi, seems to tumble over itself to get out a story that seemingly demands to be told.

If that sounds like an insult, it is anything but. The Brendan Fraser-led dramedy truly does demand to be told: Based on the real

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