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The closest thing American cinema has had to a movement in recent years has been the self-deprecatingly titled genre, mumblecore, made up of lo-fi independent films that incestuously share cast, crew and concerns. Take the insecurity and self-obsession of Woody Allen’s “Manhattan” mixed with the chatty characters from a Richard Linklater film, then throw in a lot of umms and you’ll get the picture.

There have been dozens of mumblecore films made over the past decade, but none of them have opened in Japan. (Maybe because Japan already has more than enough home-grown Millennial indie flicks.)

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