- 2 days ago
Human Vapor Reboots a Classic Japanese Movie With an Anti-Authority Edge
the opening scene of Human Vapor, the first collaboration between Netflix and historic Japanese company Toho, Korean showrunner Yeon Sang-ho and Japanese director Shinzo Katayama deftly establish how science-fiction has scaled up since 1960, the release year of the original The Human Vapor film.
We meet harried but dedicated reporter Kyoko Kono (Yû Aoi) interviewing a scientist about his new method of biomass power on live Japanese television when a strange and self-directing vapor infiltrates the studio, slipping under the scientist’s clothes and into his airways. All hell breaks loose: the autonomous, aggressive vapor floods his body, suspending him high in the air. His clothes stretch and his legs twitch as the vapor forces itself down his throat—before he explodes, blood and viscera raining down on the studio.
Rendered with vivid, pulsating CG effects, this is an explicit and attention-grabbing moment of body-horror, and viewers who only know the simplest contextual details about the series before they hit play—that it’s based on an old Japanese sci-fi film—will realize this reboot is not beholden to the style and restraint of a ‘60s monster movie. (The fact that the vapor-triggered combustion is broadcast live itself feels like a comment on the type of extreme material that you see on television nowadays.) This happens before we even meet the titular Human Vapor, a sinister suited man who can shift between physical and gaseous form responsible for a mysterious killing spree. But how does the Netflix series expand the scope of the original film by the original Godzilla director Ishirō Honda and special effects pioneer Eiji Tsuburaya, and how faithful is the show to its beguiling murderous villain?
the opening scene of Human Vapor, the first collaboration between Netflix and historic Japanese company Toho, Korean showrunner Yeon Sang-ho and Japanese director Shinzo Katayama deftly establish how science-fiction has scaled up since 1960, the release year of the original The Human Vapor film.
We meet harried but dedicated reporter Kyoko Kono (Yû Aoi) interviewing a scientist about his new method of biomass power on live Japanese television when a strange and self-directing vapor infiltrates the studio, slipping under the scientist’s clothes and into his airways. All hell breaks loose: the autonomous, aggressive vapor floods his body, suspending him high in the air. His clothes stretch and his legs twitch as the vapor forces itself down his throat—before he explodes, blood and viscera raining down on the studio.
Rendered with vivid, pulsating CG effects, this is an explicit and attention-grabbing moment of body-horror, and viewers who only know the simplest contextual details about the series before they hit play—that it’s based on an old Japanese sci-fi film—will realize this reboot is not beholden to the style and restraint of a ‘60s monster movie. (The fact that the vapor-triggered combustion is broadcast live itself feels like a comment on the type of extreme material that you see on television nowadays.) This happens before we even meet the titular Human Vapor, a sinister suited man who can shift between physical and gaseous form responsible for a mysterious killing spree. But how does the Netflix series expand the scope of the original film by the original Godzilla director Ishirō Honda and special effects pioneer Eiji Tsuburaya, and how faithful is the show to its beguiling murderous villain?
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Short filmTranscript
00:24What were you doing here, sir?
00:30How are you?
00:31You can't come here.
00:38What were you trying to play?
00:45It's not your meaning.
00:48It's my meaning.
00:52What's that?
01:02What are you doing here?
01:07What are you doing here?
01:43What are you doing here?
01:47What are you doing here?
01:47What are you doing here?
01:58What are you doing here?
02:11What are you doing here?
02:14See you later on.
02:16You're going home now.
02:19Come here.
02:27How are you doing here?
02:28What did you do?
02:30No, I don't have to worry.
02:32Oh, my Stephen is here.
02:35Can you tell the name of G7 countries?
02:39G7?
02:40Yes, I have an exam today.
02:45United Kingdom, France, Canada, Japan...
02:58America, Germany, Italy.
03:00Bye, Uncle.
03:12Liyo has finished the food.
03:14Oh, wow. Thank you.
03:28Who is the human vapour?
03:31Who is the human vapour?
03:31Who is the white centre?
03:33Who is the police?
03:36That's just so much.
03:37Now, J&T has seen a special story with that man.
03:42Who was the cause of this?
03:46White centre.
03:49Human vapour?
03:51I'm listening to something first.
03:52What is the white centre?
03:54I've never heard of this.
03:56No, I've never heard of it.
03:58White centre, all of the people
04:00are standing on the TV and
04:01remembering their fears and fears.
04:05You're scared.
04:07Today, they're killing the whole world
04:08and killing their fingers.
04:10What happened, sir?
04:12But I won't believe that.
04:16I'll let everyone out of the house.
04:18I'll let everyone out of the house.
04:20I'll let everyone out of the house.
04:29Back to the house.
04:33I'm happy.
04:48Just what happened.
04:51Did everything stand right in the house?
04:52I have not been into it.
04:52Man is under the house.
05:12Bunko Ramen Hotel
05:26with a personal story
05:28that I think you should reach the team
05:32No, I didn't see any news
05:34Of course
05:35You didn't have killed him there?
05:38You didn't know anything to tell us
05:41Detective
05:44What do you want to say?
05:52Look, I don't think I'm going to get upset.
05:54What is necessary, that's the question I'm asking.
06:16So you said that you never went to the hotel where you died from the drug overdose.
06:22Where did you go to that day?
06:26What is it?
06:33I won't say anything.
06:37You didn't have to leave the house in your car.
06:41I won't say anything.
06:46I won't say anything.
06:48You won't say anything, right?
06:50You killed a young girl with a 17-year-old kid and killed a drug overdose.
06:54And I won't say anything.
06:55I'm a president of a very big company.
06:58What do you want to do without a proof?
07:06You've never been a fool before.
07:09You've managed to kill the proof.
07:16You've lost your life.
07:19You've lost your life.
07:21You've lost your life.
07:22How long have you lost your life?
07:23I've lost your life.
07:33You've lost your life.
07:43You've lost your life.
07:52You've lost your life.
07:58You've lost your life.
07:59You have lost your life.
08:05You've lost your life.
08:08Don't want to take your will!
08:11Take them!
08:13Take me!
08:16Take the quiet off your head!
08:16No, don't leave me!
08:17Leave me!
08:20Don't let the laws be done.
08:23Don't let...
08:32Accept yourself.
08:34Oh, my God. You had a lot of time.
08:40You're not going to be fine.
08:42Okay.
08:43Oh, my God.
08:43Don't say that.
08:49You too.
08:52You're fine.
08:58Forgive me.
09:00Oh, my God.
09:05Oh, God.
09:34Oh, my God.
09:36Why are you wrong?
09:40Why?
09:43Oh, my God.
09:47Oh, my God.
10:02Oh, my God.
10:10Oh, my God.
10:12Oh, my God.
10:14How beautiful.
10:15Really?
10:15Oh, my God.
10:31What happened?
10:32Oh, my God.
10:35Oh, my God.
10:36Oh, my God.
10:36Oh, my God.
10:53Oh, my God.
11:00Oh, my God.
11:09Oh, my God.
11:24Oh, my God.
11:27Oh, my God.
11:28That was true.
11:29Oh, my God.
11:29Oh, my God.
11:37Oh, my God.
11:49Oh, my God.
11:51I'm just staying.
11:52I got the reporter's news in the inside.
12:03Give a badge and revolver.
12:05I've been suspended.
12:10I don't have to tell you anything about this.
12:13Miss Conno,
12:16you can go to any way for your own.
12:19I know this.
12:20Aabe, it's just a lot.
12:24We've been charged with you on the phone.
12:27We've been charged with you on the phone.
12:29Forgive me.
12:31Now, you can go from here.
12:35I'm going.
12:43Kyoko.
12:47Kenji.
12:50You were in the house.
12:54Yes.
13:00If you keep this case a little bit, it will be better.
13:07You will get the knowledge of the police.
13:13Just tell me that you don't have any new advice.
13:45You don't have any new advice.
13:46You don't have any new advice.
14:08I don't have any other advice.
14:11I don't have any new advice.
14:13You don't have any other advice.
14:15I know that you don't have any new advice.
14:16I don't know how to do that.
14:16But here…
14:18Do you have any surprise?
14:22No surprise on the clothes.
14:26I've never seen such a bad idea in such years.
14:31Did you get to know the human wiper?
14:34We searched his face in our criminal database.
14:37But there was no record match.
14:40This is a big problem.
14:41I don't know.
14:44Okay.
14:45Then, do you know something about that white center?
14:48About three years ago,
14:50there was a situation in Yamanashi.
14:53There's no doubt about that.
14:55That's why there's a time to be done.
14:57What happened?
14:59No, nothing.
15:00Why did this one button change the rest of the other buttons?
15:04What?
15:05Maybe this button changed later.
15:09What is this?
15:10What is this?
15:10It's become a sign.
15:12Hmm.
15:16Did you get any knowledge about the white center?
15:17No, ma'am.
15:18There's nothing on the internet.
15:20Maybe they have all the evidence from that.
15:27It seems that there's a big purpose behind them.
15:30Hear, ma'am.
15:33There's something I found.
15:34Hmm?
15:36Human Vapor, who mentioned the white center,
15:39was a social welfare center.
15:44What?
15:52What?
15:58What a matter of fact. How did you know that?
16:02When the interview of Human Vapor was telecast, someone gave us his knowledge.
16:07Which person?
16:10He was a retired journalist who had written a card in the White Center for years.
16:16You can fix a meeting with them.
16:18Yes.
16:22Don't attack me!
16:31I'm sorry.
16:32Kenji, sir. This is the Surak.
16:34Fuji Shiro Gang?
16:36I mean, the cast of Underworld?
16:38Yes.
16:39The people have been seeing them in Underworld.
16:44But what connection to this Fuji Shiro Gang of Human Vapor?
16:48What kind of gang is being opened up today?
16:50It's strange that this gang has become very big.
16:55I think it's a big deal.
17:03But if the human vapor is still in this gang,
17:08why did it have only one button on his coat?
17:11Does it seem strange to you?
17:13No.
17:17No.
17:18No.
17:21Go Back Se adviser.ист
17:27things are kind of good, but
17:32was one of the companions that do not know. Come
17:32here, Andy. I'll
17:32Okay.
17:34Hey,
17:37I'll聴 uppit 그. You Kristenマ****
17:45Where did Rommal come from?
17:54Sir?
18:03He's also kept Rommal in his face.
18:06Yes.
18:08Well, maybe he's giving us our English translation.
18:12But why won't he give such a word to the police?
18:24Welcome, man.
18:25Welcome, man.
18:25Welcome, man.
18:28Welcome, man.
18:29Welcome, man.
18:32You're the senior reporter Shinichi Kaato,
18:34who had known us.
18:36Yes, but I'm retired,
18:39so I won't say the reporter.
18:41I'm from J&T News.
18:44And this is my colleague.
18:45My name is Tatsuya Nishiyama.
18:50We're coming straight.
18:51We're coming straight.
18:52We've heard that when White Center started,
18:54you've written an article.
18:56Yes.
18:58You've written about 10 pages.
19:00We've written about research,
19:01so there's no article about it.
19:10What do you like to drink?
19:12For me a coffee.
19:13And a cream soda.
19:15Yes, sir.
19:19You know what was happening in the Yamanashi?
19:23It's a famous Global Children's B-6 expo.
19:27I don't remember.
19:29It's good.
19:31Today's video is probably not a doubt.
19:33It was a different event to the international event,
19:36and it was different from the country.
19:37in the sky.
19:39But, when I was in the sky, there was a strange
19:49wall in the sky, and went to the jungle.
19:54A wall?
19:56Was there something that was happening in the sky?
19:59I believe that you heard this first time.
20:02Because it was in the global peace expo in the sky.
20:08Oh
20:09Oh, or just professor Sano ki hathya hui, wu darasal us ulka pin surakshat jan samithi ke adhaksh te
20:14unho ne us wakt jhoot kaha ki ulka pin se kooi khatrha nahi, aur jhoote report banayin
20:22Jhoote?
20:23Haan, aasal me ulka pin se bhehat ghaa tuk rasai nikal raha thay
20:36Or us malbe ko saaf karne ka kaam, eek private sastha ko sopa gaya tha
20:45Tumhai pata hai, wu kuan si sastha thi?
20:49White sander hi hogi, ee na?
20:52Bilkul sahih ga
21:00Dunia ki nazroon mein, wu ek anaat ashram tha
21:05Lekin, aasal me to ho, ee sahara logon se, chanvalo ki tarah, sabardusti zahirila kama karathe thay
21:19Yeh sach batanee ke liye, menei kai article likhe thay
21:23Or wu articles daba diye gaya, taa ki, us space exposition ki sakh bani raha
21:29Us samayi ki sarkar ke liye, wu international event neetau ki izzat ka sawal tha
21:33Voh nahi chaathe thay koi buri khabar unka khir bikar dhe
21:37Khair, yeh puri dunia aisee hi chalti hai
21:41Kya is aadmi ka white center se koi samband tha?
21:45Mr. Obata, wu is center ke director thay
21:49Kya koi tariqa hai ki hama inse mil sake?
21:55Woh expo khatam hoote hi, woh sab chhod kar kahin ghaayab ho gaye
22:00Bilkul ek bhoot ki tarah hai
22:05Yeh rahi apki hot coffee ma'am, leechye
22:09Kya ap ismeen doen shukri ji
22:12Aapka kreem soda
22:20Lekin us khatna ke kai salo baat
22:23Menni unhe ek jaga dhekha tha
22:26Kahaan?
22:28Menni kahin ghumnene gya tha
22:30Aur akka accha hotel dhun raha tha
22:34Tabhi, kisi sastha ke log dhekhe
22:36Jyo sadak par gharib bachyo ko khana baat raha
22:38Aapnene misra obata ko wohi par dhekha?
22:40Khana baatte hoi?
22:46Menni unhe nama se pukara
22:49Paru unhe anjahan benne ka na ndak kya
22:55Lohg unhe obata nahi kisi or nama se bala raha thai
23:00Kya nam tha?
23:02Woh naam bhi kuchh milta chulta hii tha
23:06Aghiyat nahi araha
23:10Yeh sab oh kahan raha tha?
23:12Mufth me yaddaash par zhod nahi hi đalunga
23:20Gid nip a simmelingi
23:39Jogo!
23:40Mufth me yaddaash par zhoda
23:51eduk
23:51Where are the rest?
24:45Where are the rest?
25:14Where are the rest?
25:45Where are the rest?
26:13Where are the rest?
26:16Where are the rest?
26:54Where are the rest?
27:01Where are the rest?
27:02Take the camera.
27:02Where are the rest?
27:12Where are the rest?
27:15Where are the rest?
27:28Where are the rest?
27:36Where are the rest?
27:38Yes.
27:41I'm working on a big deal.
27:42And I have to pick up a dangerous person.
27:45What was going on inside?
27:46Can you tell me?
27:49I'm working on a big deal.
28:18I'm working on a big deal.
28:20I'm working on a big deal.
28:23I'm working on a big deal here.
28:24You weren't working on a small business.
28:25I'm working on a big deal.
28:25What do you think about the people?
28:25I am very proud of you.
28:26Look, this is a new house.
28:28How is it?
28:30Does it feel good?
28:31Yes, it feels good.
28:34I have learned how to do it for yourself.
28:37Thank you, sir.
28:43Okay.
28:49In Shizuoka, there are 32 volunteer groups in Shizuoka.
28:53There are 32 volunteer groups in Shizuoka.
28:56If they are all the authorities,
28:59the people who are working with are easily familiar with them.
29:02But the private authorities
29:03can tell us something about personal data.
29:07No, they don't tell us,
29:08but there will be some information on their website
29:08or social media.
29:11Some volunteer have posted something somewhere.
29:20One minute, one minute.
29:21Have you seen a photo?
29:23Look at the screen.
29:24Look at the screen.
29:25Okay.
29:30Look.
29:32That's it, right?
29:37Topi.
29:38Chashma.
29:39Like that.
29:40What's it?
29:41What's your name?
29:43Let's see.
29:45It's Hiroshi Ozaki.
29:47The director of the center.
29:48She told her that her name is the real name.
29:57Her name is Hiroshi Ozaki.
30:02It's like this.
30:03Yes, it is.
30:06But if she's the same person,
30:08she can be honest with her.
30:10If she's one person,
30:13she can be honest with her.
30:19We will get out of one phone call.
30:25Listen.
30:26I'll take the contact number of Ozaki.
30:28Let's go, Leo.
30:29Let's eat this.
30:30Let's see.
30:30Our number is coming.
30:34Let's go, Leo.
30:35Let's go, Leo.
30:35Let's go, Leo.
30:35Let's go, Leo.
30:36What will you eat?
30:38Tell me.
30:38Kazua.
30:40Have you seen Shota?
30:41Yes.
30:41Yes.
30:43Yes.
30:44Yes.
30:46Let's go.
30:48Let's go.
30:51Let's go.
30:54Let's go.
30:56Let's go.
30:57Let's go.
31:00Let's go.
31:01Is this my story Mr. Ozaki?
31:05Yes.
31:05I'm just talking.
31:06I want to call him.
31:08I want to call him.
31:09I'm talking about J&D News channel.
31:11Let's go.
31:12Let's go.
31:14What happened to you?
31:15The day when the human vapour killed Professor Tsano, I was taking him just the interview.
31:22What's your work?
31:26You are the hero of the man who was the director of White Centre?
31:36Excuse me.
31:38I probably picked the wrong number.
31:39Do not cut the call.
31:41He will see the news on the TV.
31:43Human Vapor told that he will kill each other.
31:47And he will be the next one to you.
31:55I think there is no wrong thing.
31:57I'm holding the phone.
32:04I believe that this is the right thing.
32:10I believe that this is the right thing.
32:13Ozaghi Sir, Ozaghi Sir.
32:15Sir Sir, listen.
32:16Shota had a phone from school.
32:19His teacher is saying that there is a man who is a man.
32:22What are you doing?
32:23You are so upset.
32:26A man?
32:28Hello?
32:35This is...
32:36Oh
32:38I'm
32:43Suno Shota
32:44I'm gonna go
32:49I'm gonna
32:49I'm gonna
32:50I'm gonna go
32:50I'm gonna go
32:58Hey
33:13you
33:14you
33:17do
33:17you
33:17do
33:18you
33:20you
33:21Is he saying truth?
33:26Have you seen it?
33:44Yes, I have seen it.
33:52Yes, I have seen it.
34:10Ozaki, uncle.
34:16I...
34:18I didn't say the truth in front of everyone.
34:30In fact, I...
34:38I saw...
34:44...the money I had to buy...
34:47...but the money I had to buy...
34:49...they didn't buy the money...
34:57...so why didn't you tell me the teacher?
35:01I was afraid to say the truth...
35:03...that if I said it, I don't know what they'll do with me.
35:08I was afraid of...
35:09...so they don't know what they'll do with me.
35:10I was afraid of...
35:12...I was afraid of...
35:13...and I didn't complain about it...
35:22...but now, what is the benefit?
35:26If I can tell the truth...
35:28...it doesn't change anything.
35:36If I can tell the truth...
35:39...it doesn't change anything.
35:39...it doesn't change anything.
35:40I'm a monitor.
35:41Everyone likes it.
35:44And...
35:46...Yoshitsa...
35:48...he...
35:49...he...
35:50...he...
35:51...he...
35:53...and not...
35:53...he...
35:53...his...
35:54...has never seen...
35:55...as a lie.
36:01...so...
36:02...so whatever it is, I thought...
36:05...doesn't benefit from...
36:06...to say...
36:09...so...
36:14I...
36:15Shota.
36:17Yes, Uncle.
36:19After the truth,
36:24you have not done anything.
36:30One day, you will be ashamed of yourself.
36:37You don't want to fall into your eyes.
36:41You don't want to say the truth.
36:51Shota, if you are hiding like this,
36:54then you will be the one who will become the one who will be the one who will be the
37:00one who will be the one who will be.
37:05Do you want to be here?
37:27No, not even the one who will be the other even if you need to go to school.
37:33She scares me for 100 reasons,
37:37and, you know, wherein I'm Karena and I don't fall into something else,
37:38is that I will warn you for two directions.
37:39How are you?
37:46Chandler.
38:19Chandler.
38:42Chandler.
39:16Chandler.
39:40Chandler.
40:15Chandler.
40:18Chandler.
40:21Chandler.
40:23Chandler.
40:28Chandler.
40:28Chandler.
40:29Chandler.
40:31Chandler.
40:34Chandler.
40:36Chandler.
40:36Chandler.
40:37Chandler.
40:37Chandler.
40:38Chandler.
40:40Chandler.
40:41Chandler.
40:46Chandler.
40:46All the people who have done this work, they are all in this file.
40:53I would like to take care of you, Miss Kono.
41:00Thank you very much.
41:03You are showing a lot of courage.
41:07You can't say anything about yourself.
41:10I would like to throw this garbage out of your face always.
41:13I would like to take care of you.
41:15Can we meet you now?
41:17Yes, I will reach you.
41:22Tell me where to come.
41:40What's your uncle?
41:43Tell me.
41:50I've been thinking the whole night.
41:53I've been thinking about myself.
41:58But that will not be said truth.
42:05I'm not going to talk to you.
42:07I'm not going to talk to you.
42:10I'm not going to talk to you.
42:18But I would not talk to you.
42:20I'm not going to talk to you.
42:25Please forgive me.
42:27I'm not going to talk to you.
42:45I'm not going to talk to you.
42:55Please forgive me.
42:57Please forgive me.
43:03Please forgive me.
43:07Please forgive me.
43:11Please forgive me.
43:12Please forgive me.
43:12Please forgive me.
43:13Please forgive me.
43:14Please forgive me.
43:14Please forgive me.
43:16Please forgive me.
43:16Please forgive me.
43:17Please forgive me.
43:19Please forgive me.
43:20Please forgive me.
43:20Please forgive me.
43:20Please forgive me.
43:20Please forgive me.
43:21Please forgive me.
43:21Please forgive me.
43:21Please forgive me.
43:23Please forgive me.
43:26Please forgive me.
43:45Hey, it's all over.
43:49Hey, hey.
43:50Hey, hey.
44:11It seems that it will not be able to reach now.
44:12Hmm.
44:16I'll bring something to drink.
44:58Tatsuya, get out of here.
44:59What?
45:02What?
45:05What happened?
45:09Abata, call us and tell us that we are getting to the other place.
45:12What?
45:12Go ahead.
45:15Okay.
45:19Let's go.
45:27Let's go.
45:29Let's go.
45:41Let's go.
45:47Let's go.
45:48Let him move it up.
45:50Let him move it up.
45:54Let him move it up.
45:56Let him move it up.
45:56Let him move it up.
46:06He needs to go.
46:09What?
46:28What's going on?
46:29!
46:30!
46:30!
46:32!
46:32!
46:41Where did he run ?
46:43What is the secret ?
46:44find st biography !
46:48The mind told you !
46:50Why is he not there?
46:56Where is the wall?
47:01Go to the wall!
47:07Don't let him go!
47:09Don't let him go!
47:12Don't let him go!
47:13Don't let him go!
47:20What?
47:23Robert!
47:46Ben, just take care of him!
47:54Don't let him go!
48:07Don't let him go!
48:08Take care of him!
48:09Don't let him go!
48:14Don't let him go!
48:17Why is he so happy?
48:19Why is he doing this?
48:25Why did they come back to me?
48:29Why did I come back to Yakuza?
48:31Why did I come back to you?
48:33Is there any former enemy?
48:35Yakuza gang?
48:38I was here.
48:40I was able to meet the White Chandra director of Obata.
48:43He was supposed to know some people.
48:47Is it okay now?
48:51I recorded everything.
48:54I'm fine. Thank you.
48:57They arrested you.
49:00Because they knew that you were going to get here.
49:05That's right.
49:06In Ghana.
49:16Obata Khatri mean.
49:24Oh, my God.
49:48Oh, my God.
50:17Oh, my God.
50:20Mr. Obata, can you tell me where are you?
50:24I was going to go to your side, but I was waiting for you.
50:28Go to any police station.
50:30If you don't go there, you will die.
50:33Mr. Obata, you have a danger.
50:38I don't think I'm afraid to die.
50:44But I don't want to die.
50:55How do you want to die?
50:57The white center was not made for people.
51:02I don't want to die.
51:05These people, the police,
51:08the police,
51:09the police,
51:09the police,
51:10the police,
51:12the police.
51:15What does that mean?
51:22The white center was arrested.
51:27The old director was killed by the police.
51:32And, the old man had killed the police.
51:33And, the other woman,
51:34the other man made the new director.
51:38The white center,
51:39The people who live in the world were no other than the world.
51:46The people who lived in the world were no other than the children.
51:51They were all the people who lived in this society.
51:55They were all the human fuel.
52:03Mr. Obata, can you tell who is behind this?
52:13That Mufu is a single person named.
52:17I am going to give you the file in that Mufu.
52:27Mr. Obata, what is this Mufu?
52:30What is the last Mufu?
52:34Mr. Obata, are you listening?
52:38Mr. Obata!
52:49Mr. Obata!
52:51Mr. Obata!
52:52Mr. Obata!
52:55There are many other people!
53:00You are not at all!
53:03Why don't you say anything?
53:05Mr. Obata!
53:15Mr. Obata!
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