My daily life with the original diva

So she picked up the axe again, killed that version of herself, then picked up her terrified son and drove away from the blood-soaked home.

But as she was driving and trying to calm her struggling son, they first hit and killed a seagull, and there were already countless dead seagulls on the roadside. Then, she was so frightened that she swerved the steering wheel and crashed head-on into a large truck.

The scene shifts to Junko standing dejectedly on the street. Not far away is the wrecked car. Her son is not beside her, but she herself is unharmed, except for a tall policeman with a fake mustache standing next to her.

Everyone recognized him; it was Hiroshi Kimura! He had actually made a cameo appearance. He stood next to Junko and asked, "Miss, is there anywhere else you want to go? Once you've been there, remember to come with me."

Junko turned around and said listlessly, "Take me to the dock. My friend is waiting for me there. Once we get there, I'll leave with you."

"Okay, I'll take you to the pier." After saying that, the two got into the police car and drove Junko all the way to the pier.

After getting off the bus, the policeman said to Junko as she left, "Remember to come back, and don't lie to me."

“I know, sir, I’ll be right back.”

After saying that, she walked towards the dock. Just like at the beginning of the movie, a haggard and completely absent-minded Junko appeared on the dock. Her boyfriend, Ken, rushed forward and asked her anxiously. The same words and the same answers, but Junko seemed to be deliberately hiding something and did not keep her promise to the policeman.

Just as the small yacht left the dock, the camera began to zoom out, revealing a storm cloud rapidly gathering in the distant sky. The film ends there.

"Ah, what's going on? Why didn't Junko break out of the loop? Why is she back at the dock and out to sea with her friends? What's going on?"

“I don’t know either, but I remember Junko saying that she felt very familiar with that ghost ship, which means she had boarded that ghost ship before.”

“I understand, I understand. Even if she returned to the shore, she was just trapped in another cycle. She never truly escaped. So that’s how it is. She deceived that policeman. She shouldn’t have done that. That wasn’t a policeman; it was Death. She actually died in the car accident. She should have gone to the underworld, but she deceived Death to try and save her son. So she’s destined to be trapped in an endless cycle like Sisyphus, never to be free.”

"What? Why don't I understand it? What kind of movie is that Kimura Hiroshi making? I have to watch it again. I refuse to believe I can't understand it."

As the movie ended, the entire theater was buzzing with discussion. People were talking about everything from the plot to Western mythology, trying to decipher the film's content and how to break free from the cycle.

After the movie ended, Akina Nakamori immediately pulled Kyoko Koizumi out of the theater. However, Kyoko Koizumi was still a little dazed when they came out of the movie theater.

"Um, Akina-chan, I didn't understand this movie at all. What was going on? Did Junko finally get through it?" Koizumi Kyoko couldn't help but ask Nakamori Akina.

With a smile, Nakamori Akina replied, "Actually, I don't understand it very well either. Hiro and I have looked at it many times, but we still don't quite understand it. Although he has explained it to me many times, I still don't quite understand. Ah, Hiro said that it's a difference in logical thinking ability. If you really don't understand, just don't think about it."

With a pout, Kyoko Koizumi said with dissatisfaction, "What do you mean by 'if you don't understand it, don't try to figure it out'? Kimura-san made such a baffling movie. I don't know how his brain works to come up with such strange things. Akina, I think you should observe him carefully and see if there's something wrong with him."

As she spoke, Kyoko Koizumi nodded her own head, the implication being clear: Hiroshi Kimura might have a problem with his head, and Akina Nakamori should be careful.

Akina Nakamori couldn't stand it, so she quickly slapped Kyoko Koizumi's hand away, rolled her eyes at her, and said, "What are you saying, Kyoko-chan? Hiro-kun is a genius, that's why he was able to come up with such a plot. Ordinary people simply don't have that ability. If you talk bad about him here, be careful when we get back I'll tell him, and then we'll see what you do."

"Ugh, Akina-chan, how could you do this? It's outrageous! This was our conversation, and why are you so protective of Kimura-san? You even argue with me when I say something bad about him." Koizumi Kyoko realized that Nakamori Akina really valued Kimura Hiroshi far more than she did.

Nodding naturally, Nakamori Akina said with certainty, "Hiro-kun is my fiancé, so of course I have to protect him, just like he helps me when I encounter problems. This is called mutual care. You'll understand when Kyoko-chan gets married in the future."

"It's really enviable. Why are Akina and Kimura so lovey-dovey? Okay, enough of talking bad about your Hiro-kun. So, where should we go next? Let's go have dinner. It's already past seven, and we only watched one movie that we couldn't understand at all." Koizumi Kyoko didn't want to continue discussing Kimura Hiro with Nakamori Akina and quickly brought up the topic of dinner.

Nakamori Akina replied, "Okay, I'm really hungry. There's a nice restaurant nearby. Hiro-kun and I have been here before. I'll take Kyoko-chan to try it and see if you like it."

It was Kimura Hiroshi again. Koizumi Kyoko didn't want to say anything. She just grabbed Nakamori Akina's arm, and the two walked towards the restaurant. But they hadn't gone far when Nakamori Akina's cell phone rang.

At that time, mobile phones were still a very rare thing. When Akina Nakamori took them out, Kyoko Koizumi was very curious and stared at them carefully. However, she quickly lost interest because the call was from Hiroshi Kimura. Akina Nakamori answered the phone with a smile.

On the phone, Kimura Hiroshi asked Nakamori Akina if she had finished get off work and if she wanted to come home for dinner. After learning that she was with Koizumi Kyoko, he told her to have fun and remember to be careful on her way home. In short, he was very caring, which made Koizumi Kyoko feel the strong stench of love. This was a huge blow to her, who had already broken up with her boyfriend.

"Oh, I'm sorry, Kyoko-chan, it's Hiro-kun on the phone. Please don't mind. Let's go eat quickly." Nakamori Akina hung up the phone and quickly said to Koizumi Kyoko.

"Akina, have fun with Kyoko-san! Be careful on your way back. If anything happens, remember to call me, I'll come pick you up. No wonder you're always so protective of Kimura-san, that man is so gentle and considerate," Kyoko Koizumi said with a hint of bitterness.

Feeling a little embarrassed, Nakamori Akina quickly covered Koizumi Kyoko's mouth and said, "Okay, okay, stop talking. Let's go eat. You always have such a sharp tongue."

Chapter 612 I'm also very capable in other areas

At 10:30 p.m., because Akina Nakamori said she was going to have dinner with Kyoko Koizumi, Hiroshi Kimura did not go back. Instead, he accepted Yuya Fukada's invitation and had a celebratory dinner with Toho's group outside to celebrate the release of their new movie. He and the staff of Wit's Studio spent the afternoon at Toho keeping up with the premiere of their new movie, "Triangle".

Back at his apartment, Kimura Hiroshi found that Nakamori Akina hadn't returned yet. He assumed she had gone back to her own apartment to rest, so he didn't think much of it. He went straight to the bathroom to take a shower, then leaned back on the sofa, intending to find a TV program to watch before going to sleep.

But just as he turned on the TV, he heard a noise at the apartment door, followed by very light footsteps coming in.

"Ahem, ahem, why is Akina so late? Look at the time!" Kimura Hiroshi pretended to be very serious, like a husband questioning his wife who was returning home late.

Seemingly genuinely startled by Kimura Hiroshi's tone, Nakamori Akina immediately put on a smile and said in a slightly embarrassed tone, "It's been a long time since I saw Kyoko-chan, so we watched a movie, had dinner, and even went to karaoke. That's why I'm back so late. Hiroshi-kun, you're not angry, are you?"

"What do you think? It's already eleven o'clock, and you're only coming back this late without even calling me beforehand. It's really infuriating!" Kimura Hiroshi's tone was incredibly forceful.

After glancing at the time, Nakamori Akina tiptoed closer to Kimura Hiroshi, seemingly wanting to get close to him and then beg him to let her off the hook. However, before she could get any closer, Kimura Hiroshi reached out a hand and blocked her shoulder, preventing her from getting any closer.

"Hey, I already took a shower. Akina's been out all day, why don't you go take a shower first? I don't want to shower again," Kimura Hiroshi said, feigning disgust.

To everyone's surprise, Akina Nakamori actually sniffed herself and said, "Hmm, I do smell a bit. I'm going to take a shower."

After saying that, he walked towards the bathroom. Kimura Hiro didn't expect Nakamori Akina to be so obedient. Could it be that she said something bad about him to Koizumi Kyoko and came back feeling a little guilty?

But when the bathroom light was turned on, Nakamori Akina came out a moment later with an accusing expression on her face. She said, "Hmph, Hiro-kun just got back too, right? Your clothes reek of alcohol, and there's steam on the glass, which means you just took a shower too. Well, you're back so late. Tell me, where did you go last night?"

Uh, I didn't expect Nakamori Akina's observation skills to become so sharp. She immediately found evidence that he had only been back for a short time. Kimura Hiroshi quickly said, "This only proves that I just finished taking a shower, but it doesn't mean that I came back late. Okay, Akina, you should go take a shower. It's getting late."

Quickly change the subject. He has already gained the upper hand, so it's time to end this. If it continues, things will become very disadvantageous for him.

It seemed that Akina Nakamori had no intention of pursuing the matter further. With a smile on her face, she went to the bathroom to take a shower. She had been rehearsing and running around with Kyoko Koizumi all day, and she was not feeling well. She needed to take a shower and clean herself up. After all, she was a bit of a germaphobe.

Women always take a long time to shower. Kimura Hiro watched TV for about half an hour before Nakamori Akina finished showering. After she came out, she took a stool and sat not far from Kimura Hiro, handing him the hair dryer she was holding. Her meaning was clear: she wanted Kimura Hiro to dry her hair for her.

Long, flowing hair is beautiful, but it's also a very troublesome thing to manage. Kimura Hiroshi didn't say much, stood up, took the hairdryer, plugged it in, and began to blow-dry Nakamori Akina's hair.

My hair was still a little damp after washing, and it felt very smooth to the touch. It also had a fresh shampoo scent. When I used the hairdryer to blow hot air on it, the scent became even stronger.

"Today, Kyoko-chan and I went to see Hiro-kun's 'Triangle,' and it was very popular. The theater was packed with people watching movies. However, the movie seemed a bit too complicated, and many people didn't understand it. Hiro-kun, won't this affect the movie's sales?" Nakamori Akina asked with some concern while receiving Hiro-kun's service.

Kimura Hiroshi didn't seem too worried about this. While calmly drying Nakamori Akina's hair, he replied, "It is a bit complicated, but complicated movies will still have viewers. Some people may not understand it the first time, so they will watch it several times, which may help the box office even more."

"Is that so?" Nakamori Akina was a little unsure, but she quickly seemed to remember something and suddenly smiled and said, "Yes, what Hiro-kun said might be right. When I was watching the movie today, the two audience members behind me seemed to be having trouble understanding it, and one of them even planned to watch it again. How did Hiro-kun come up with such a method? It's really amazing."

"Hehe, don't you know how amazing your Hiro-kun is? All of this was within my calculations. The most important thing for a movie is that it's entertaining. If people don't understand it the first time, they'll choose to watch it a second time. But if it's neither entertaining nor easy to understand, then it really won't sell at the box office. Obviously, the movie directed by your Hiro-kun is one of those things." Kimura Hiro said with considerable pride.

Triangle is a time loop movie, with a large loop containing smaller loops and one storyline containing another. This kind of movie is actually very difficult to understand and is destined to be very complex. So, you have to be careful with this kind of movie and make sure it is captivating and entertaining.

Clearly, "Triangle" achieves this. It has suspense, supernatural elements, and thrills. The story is fast-paced, the scenes are quite exciting, and it has a strong sense of logic. It's not complicated for the sake of being complicated, so even if viewers don't understand it, they can still watch it. This makes it a good movie and ensures that its box office performance won't be bad.

“Yes, even if Hiroki’s movies are complicated, they are still very good. I think so too.” Nakamori Akina agreed wholeheartedly. This was not just a simple compliment, but Nakamori Akina genuinely believed it. At least, she thought every single one of Hiroki Kimura’s movies was very good.

By this time, her long, beautiful hair had dried. Kimura Hiroshi turned off the hairdryer and put it down. Then, he grabbed Nakamori Akina from behind and whispered in her ear, "Akina, you've seen how amazing Hiroshi-kun is at making movies. How about you see his other talents?"

A hot breeze brushed against her ears, and Nakamori Akina's ears instantly turned bright red. She knew perfectly well what Kimura Hiro meant by his other impressive qualities. Usually, this meant that Kimura Hiro was about to do something naughty. Even though they were an old married couple, Kimura Hiro would always tease her in advance, making Nakamori Akina blush uncontrollably.

"No, I don't want to, I definitely don't want to." Nakamori Akina clearly expressed her refusal, but she leaned against Kimura Hiroshi without moving, as if she had resigned herself to her fate.

How could she escape Kimura Hiroshi's clutches? He picked up Nakamori Akina and carried her towards their apartment room, completely forgetting that the television in the living room was still playing a program, which was a waste of electricity and a very bad habit.

While Hiroshi Kimura was having a wild time with his fiancée in his apartment, outside, with the release of "Triangle," a wave of discussion about it had already begun to sweep across the world.

There's no way around it, this time travel movie by Hiroshi Kimura after "Your Name" is just too much to discuss, because in this movie, Kimura not only used the concept of time travel, but even went a step further and used the concept of time loop, which is absolutely groundbreaking.

While the concept of time travel has appeared in previous films, Hiroshi Kimura was absolutely the first to apply the concept of loops to a movie, and he played with this concept in a very creative way.

Almost all first-time viewers of "Triangle" didn't fully understand it on their first viewing, and some were shocked by the ending being intertwined with the beginning. It's understandable, as they had never seen anything like it in a movie before. Japanese people are quite accepting of movies with such strange elements, so there's been a lot of discussion about it.

However, there were no movie forums in that era. Ordinary people had no way to express their opinions on a platform. Most of the people who discussed movies were film critics who could publish their opinions in film magazines and newspapers. These people would publish their opinions in newspapers and magazines after watching the movie.

Japanese film critics are notoriously harsh, often nitpicking when reviewing movies, even those directed by Hiroshi Kimura. They always find strange ways to criticize a film, but because it was distributed by Toho, these reviews were suppressed and never saw by many people.

This time, Toho intended to use the same trick again to suppress the opinions of these film critics. However, when the new issues of magazines and newspapers were published the next morning after the film's release, everyone found that such a popular film had very few reviews in the newspapers and magazines. There were neither praises nor criticisms, which was very abnormal.

Given the massive publicity surrounding "Triangle," which is practically a household name, and the immense popularity of the film, film critics should have written their reviews immediately to boost newspaper and magazine sales and share their insightful opinions. However, there are only a pitifully few articles, and they are quite disorganized.

This situation was clearly very strange. The next morning, Fukada Yuya, who was paying close attention to the situation, immediately sent someone to investigate what was going on.

By morning, the investigators finally responded, but the response left Fukada Yuya somewhat dumbfounded: most of the film critics, after watching the movie yesterday, didn't understand it at all. Some watched it two or three times but still didn't dare to comment because there were many things they hadn't figured out, which led to today's situation.

"Haha, these arrogant guys, I never thought they'd be in this situation. Every time we made a movie before, they would find a lot of problems. This time, these guys couldn't even find any problems. Do they have movies they don't understand? Haha, Kimura-san is really amazing. I love seeing these guys helpless."

Upon hearing this news, Yuya Fukada was overjoyed. As the head of the film department, he frequently had to interact with these film critics, but each of them was arrogant and conceited. Even though he was the head of Toho, they didn't take him seriously, and there was nothing he could do about it.

After all, they are a film production company. They can't use power and money to deal with film critics, as that would bring them a terrible reputation. So they can only try to control the newspapers and magazines and suppress their voices. However, this requires a lot of resources. Therefore, Fukada Yuya naturally has no good feelings towards these film critics.

Seeing that even they couldn't understand a movie, and couldn't even find fault with it, one can imagine how Isamu Fukada felt. He was overjoyed, and even had other ideas.

"Go and pass this message on to the magazines and newspapers we control. Tell them to make this a huge deal tomorrow, to make it a hot topic of discussion. Even film critics can't understand a movie, so everyone should definitely watch it. Maybe you're smarter than those critics?"

This can be considered a cunning plan. It can both damage the reputation and authority of film critics and promote "Triangle". If film critics can't understand a movie, then ordinary people will be curious about what kind of movie it is and rush to watch it. This will definitely be a huge boost to the box office.

It wasn't just Fukada Isamu who noticed this situation. Many movie fans who watched the film yesterday only had a vague understanding of it, so they wanted to buy some movie magazines and newspapers today to see what the film critics were saying. However, they found that there were very few articles about "Triangle," and only one or two were available, which left the movie fans somewhat dumbfounded.

"Could it be that Hiroshi Kimura offended these film critics, which is why they are unwilling to comment on this film?"

"Hehe, I think the most likely reason is that they didn't understand the movie either, which is why they couldn't write a review. This movie has a lot of details. I've decided to watch it again today and make sure I understand it. This is a rare movie."

Chapter 613 Box Office Records

"The embarrassing situation for film critics: not a single one of them understood 'Triangle'?"

"What kind of movie is so incomprehensible to film critics? The terrifying aspect of Triangle!"

On the third day of the film's release, Toho went all out, launching a barrage of criticisms against Japanese film critics in numerous entertainment magazines and newspapers, while simultaneously promoting "Triangle," which naturally had a tremendous effect.

However, this is clearly an exaggeration, because by the third day, many analytical articles about "Triangle" had already appeared in professional film magazines and newspapers. However, film critics did not give the film any particularly good reviews because it was novel enough.

Some criticized Hiroshi Kimura for showing off his skills too much and making the film too complicated, which was very unfriendly to ordinary viewers. Others said that the film was chaotic and difficult to watch, filled with all sorts of metaphors that were hard to understand.

Of course, there were some positive comments. After all, this film was groundbreaking, so some prestigious film figures gave it high praise, such as Akira Kurosawa. However, he was a heavyweight at Toho, so even if he said something positive, it would be seen as him promoting a Toho film.

However, Toho's sensational article had a very good promotional effect, successfully attracting the attention of many people who were not originally interested in the movie. There's no way around it, humans have a common trait, which is to prove that they are strong. Since even professional film critics couldn't understand it, they wanted to see what kind of movie it was. Maybe they could understand it, and wouldn't that make them much stronger than those professionals?

The success of attracting more people to the cinema made the already popular movie even more popular. Large numbers of viewers flocked to Toho's cinemas, forcing Toho to increase the number of screenings of "Triangle" in order to gain more box office revenue. However, this resulted in other movies released at the same time being overshadowed.

Of course, such publicity couldn't be all good; it also had its downsides, namely, it provoked dissatisfaction from many film critics. Naturally, their dissatisfaction led them to retaliate against "Triangle" and Toho in magazines and newspapers. Even Hiroshi Kimura suffered along with them and was criticized.

But it was too late for them to speak at this point, because Toho had already preemptively raised the issue of why they didn't understand the movie. This meant that even if they criticized it, people would still have doubts. Not to mention, Toho had been playing the public opinion game for a long time and was very experienced.

They specifically target film reviews that point out problems with the movie, especially those that fail to understand the details or metaphors of the film, and refute them by posting photos from the movie. As a result, the voice of film critics is further suppressed, because all that people see are reports of people who don't understand the movie and yet talk nonsense.

Despite the uproar, the movie "Triangle" ultimately benefited. Because it successfully generated buzz, it naturally attracted attention and drew people to the cinema, which greatly boosted box office revenue and made Toho a fortune.

During the first week after the film's release, Hiroshi Kimura brought his company's employees to Toho to hear about the first week of "Triangle's" release.

As Kimura Hiroshi entered the office with his entourage, Fukada Yuya greeted him with a broad smile, shaking Kimura's hand and saying, "Kimura-san, we've had a great success this time! Haha, the higher-ups are extremely pleased."

Judging from Fukada Yuya's expression, Kimura Hiroshi knew that the box office performance was probably better than expected; otherwise, he wouldn't be so happy.

"Oh, it seems the movie is a great success at the box office. I wonder how the box office is doing?" Kimura Hiroshi asked in a good mood.

Without answering immediately, Fukada Yuya first asked Kimura Hiroshi and his group to sit down before opening the documents and handing one of them to Kimura Hiroshi, saying, "Kimura-san, you'll see for yourself. Haha, in its first week of release, it grossed over 3.6 billion yen in Japan. This has set a new box office record for Toho. Kimura-san, I really need to thank you for allowing me to achieve such a great result while I'm in this position."

With a box office exceeding 3.6 billion yen in its opening week, that's truly a remarkable achievement. While this figure might not seem like much on the world stage, it's significant in Japan, where a box office champion could easily reach that number. The fact that it's achieved in just one week speaks volumes about its stature.