In director Hitoshi Matsumoto’s Big Man Japan (大日本人, Dai Nipponjin), Matsumoto also plays the title role of a beleaguered superhero struggling with various monsters and a Japanese public largely indifferent to his efforts to defend Japan. In fact, both Big Man and the monsters he’s up against seem vaguely indifferent to their responsibilities. Matsumoto is a kind of home bound otaku without the enthusiasms of youth or any particular hobbies beyond liking objects that change their size. Similarly, the monsters he confronts seem to be more involved in their particular past times than bent on destruction.

With the exception of the fantastic cg that enables Big Man’s battles, most of the film is shot as if a documentary on Big Man’s daily routines. There are staged interviews with Matsumoto and those people that exist on the periphery of his insulated world. From his agent to the cook at his favorite noodle shop, these interviews are staged in a way that give the viewer an opportunity to study the material world.

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