Written by 
Small-town futility leads to tragedy when two frustrated scrapyard workers attempt to cover up a crime in Dai Sako’s dark psychological drama Drive into Night (夜を走る, Yoru wo Hashiru). Oppressive in its atmosphere, the film situates itself in a world of constant humiliations where life is cheap and reputation everything. Its heroes seek escape from their disappointing existences through consumerism and extra-marital affairs, but no longer see much of a future for themselves while even the dissatisfying present seems to be ebbing away from them.
Asked what makes his life fun, Akimoto (Tomomitsu Adachi) replies “not much”. A classic mild-mannered guy, he’s regarded as the office dogsbody and at the beck and call of his abusive manager, Hongo (Tsutomu Takahashi). When a new female sales representative, Risa (Ran Tamai), visits the yard, Hongo runs Akimoto down in front of her apologising for having such a useless employee who does nothing other than drive around all day. His sense of masculinity is also wounded by an older colleague who tries to sell he and his friend Taniguchi (Reo Tamaoki) some kind of aphrodisiac but reflects that Akimoto is too “tame” to ever make use of it, while even Taniguchi needles him about being a 40-year-old man who’s never had a girlfriend and still lives at home with his parents. In many ways he’s the classic “nice guy”, but there’s also something a little dark about him that makes it seem as if he may snap any moment. That may have been what happened when he and Taniguchi went to a bar with Risa shortly after she’d been coaxed into a works drink with Hongo. Something obviously went dreadfully wrong in the night, because Risa is soon reported missing and both Akimoto and Taniguchi begin behaving oddly.
It is true enough that both men, and many of their colleagues, also consider themselves to be on the scrap heap. Akimoto is tempted to quit his job to put distance between himself and the scrapyard but reflects that he’s unlikely to find another job even if quitting so suddenly might arouse suspicion as Taniguchi warns him. Meanwhile, he knows the yard is in trouble. They have him running round doing cold calls but returning empty handed, while office workers are constantly fielding calls about unpaid invoices. His irritation is palpable when he spots the boss, Miyake, leaving one morning soon after he arrives, loading expensive golf clubs into his fancy car. Hongo bullies him, but later says he does it out of respect because Akimoto is the only one who bothers to do his job properly. But then again even Hongo concedes that hard work gets you nowhere. Most of his paycheques go on child support and he often sleeps in his car in the car park. The only reason he’s not been fired is that he has a personal connection to Miyake.
Even so, this fairly tenuous relationship does not really explain why Miyake goes to such great lengths to protect Hongo when he becomes the prime suspect in Risa’s disappearance and is framed by Taniguchi and a guilty Akimoto. It may be in a way that he really does think of the company as a kind of family, as perhaps do the loan sharks who keep calling them after Akimoto ends up in debt having joined a weird cult encourages him to think there is nothing wrong with him and the fault is all with an unaccepting world. The cult leader tells him that he is “full of anger”, which perhaps he is. This being in the immediate aftermath of the coronavirus pandemic, Akimoto is often questioned about still wearing a mask long after most people have abandoned them and part of the reason is as an attempt to hide his true self. After joining the cult he takes it off, but soon adopts another disguise in dressing in Risa’s clothes as his mental state continues to decline.
Taniguchi meanwhile makes an effort to continue with his “normal” life which includes visiting his mistress. Unbeknownst to him, his wife Misaki (Nahana) is also having an affair with the consequence that neither of them is able to fully devote themselves to their young daughter Ayano who eventually ends up in a potentially dangerous situation because of her parents’ various transgressions. Nevertheless, despite discovering that her husband may have been involved in a murder it’s Misaki who decides that he has to “protect our family” above all else. Amid all of this, Risa becomes almost literally lost before later being unceremoniously dumped like so much scrap. After framing Hongo, Taniguchi tries to convince Akimoto that Risa isn’t their problem anymore as they each struggle to hang on to the previously disappointing realities they had been so desperate to escape.
It has to be said that aside from the misogyny of its worldview, there is also an uncomfortable quality in the film’s characterisation of a shady Chinese businessman who of course knows how to get rid of bodies along with the fact his chief associate is Korean-Japanese gangster. Though the film’s strongest character may in fact be the Filipina bar hostess, Gina (Rosa Yamamoto), on whom Akimoto fixes most of his hopes who defiantly tells the cult leader that she’s happy with her life and has no reason to join his organisation, Akimoto exposes himself by telling her she’s wrong because he doesn’t see why a “foreigner”, “a woman”, who works in a “dirty” bar, could be happy or averse to being “saved” by him. Still he insists that he hasn’t “changed”, it’s the world that’s changed around him. Taniguchi later says something similar, and they each may have a point. In any case, this world is largely one of resentment and futility in which there is no release. Sako captures the drudgery of his protagonists lives with crushing naturalism but also perhaps little sympathy.
Original trailer (no subtitles)
Windows on Worlds 