They harass and disrespect people on their facebook page. They are actively cissexist, transphobic, asexual erasing, racist, sexist, and misogynist in order to sell shitty, overpriced t-shirts that they stole from charities.
So in other words, fuck fckh8.
(I understand that a lot of parodies of fckh8 have recently appeared on tumblr and other social network websites. As far as I am aware none of the links I have posted above are parodies, and are actually associated with fckh8.
If you notice any disparities, please let me know.)
A young cellist loses his orchestra job in Tokyo, sells his instrument and returns with his wife to his rural hometown. There, a misprinted want ad leads him unintentionally to apply as an “encoffiner” (nōkanshi)—one who performs a ceremony to prepare corpses for display and cremation. So begins Departures (2008), the masterful comedy-drama that won Japan’s first Best Foreign Film nod at the Oscars.
Departures is a quiet film, set to a lovely Joe Hisaishi score and conveyed by subtly expressive cinematography. The aforementioned cellist is Daigo Kobayashi, and his disappointing life slowly is reshaped by his employment to Mr. Sasaki, a veteran nōkanshi. Daigo finds peace and dignity through his work. The acting and dialogue are fantastic; but, in many long and largely wordless passages, the nōkan ceremony—performed with weight, beauty and delicacy—takes center stage.
The dead and those who handle them bear a very old stigma in Japan. Departures makes a different case: that the nōkan ceremony, which has become uncommon in modern Japan, is not filthy but beautiful. In the process the film does not trivialize death’s horror; it argues only that, in our lives and our treatment of the dead, we should not submit to decay. Life is always the answer to death—and Mr. Sasaki’s living quarters are filled with greenery. An unofficial translation of the film is embedded after the break. Seek out the film’s official translation for best results.