A man on the run hits a woman running out of time, what else could you call it but fate? Winner of the Special Jury Award at the PIA Film Festival, Eiichi Imamura’s Beautiful, Goodbye (ビューティフル、グッバイ) sees its conflicted heroes cast adrift as they flee from past trauma, bonding over their shared sense of hopeless alienation while driving towards some kind of resolution to their respective anxieties but perhaps fearing that there are no real safe spaces for those who find themselves at odds with the world in which they live.
As the film opens, 32-year-old Daisuke (Yasuke Takebayashi) is caught in the immediate aftermath of having stabbed a man while a small child curls himself into a ball in the corner. Pausing only to comfort him, Daisuke leaves in a hurry and later steals a pickup truck still laden with the last of someone’s moving boxes. Meanwhile, another man, Shinoda (Koki Nakajima), chases after a woman, Natsu (Yobi), who is later found wounded in an alley before being wrapped in a sheet and toe tagged at the local morgue. That is not, however, the end of her story. Shinoda, having recovered her body, performs some strange ritual which brings her back to life only for her to escape and run directly into the path of Daisuke’s car. Fearing he has made his day even worse, Daisuke puts her in the passenger seat and, unlikely as it seems, the pair end up travelling together pursued both by law enforcement and by the psychopathic Shinoda.
Daisuke, a shy man nervous about his stammer which sees him exiled from mainstream society, does not immediately seem like the type of person to stab someone but we later find out that he had a good reason (if you can say such a thing) and was acting to protect someone else from longterm abuse. He’s not sure running was best thing to do, but it has at least introduced him to Natsu who doesn’t seem to mind about his stammer and makes a point of calling him by a diminutive in an effort to avoid detection on the road by amping up the couple act. Apparently from Taiwan but with a Japanese mother, Natsu is herself on the run, besides being undead, in trying to keep one step ahead of the violent boyfriend it seems was responsible for her demise and then brought her back after trying a few rituals he found on YouTube so he could terrorise her afterlife too.
Both outsiders at the mercy of an unforgiving society the two discover a kindred spirit one in the other, retreating from their brush with crime to return the moving boxes to their original address with an apology for having borrowed some of the contents. Regaining her memories and coming to an awareness that her zombiefied state might only be temporary, Natsu wonders why her life has turned out the way it has and if God is punishing her for being a “bad” person. She has a tattoo of a lightbulb on her leg because of a story she was once told about there being two paths in the darkness, one to heaven and one to hell, and that God would always light the way for the good while the bad were left to stumble around on their own, losing their way and ending up in hell, so she decided to make her own light fearing that she was not one of God’s good people. Daisuke just laughs, pointing out that lightbulbs don’t work out of the box, leading her to make a few adjustments which allow him to give her the power to face the darkness.
Daisuke meanwhile remains on the run, in part because he wants to help Natsu move on from her traumatic past by facing her victimisation at the hands of the psychotic Shinoda who has been using social media to try and track them down but later finds himself falling victim to his bullying. Together, the undead woman and the barely living boy give each other the strength to face their respective anxieties, his in his crime and hers in her murder as they contemplate the calm at the end of the world, or at least the road, while the gentle tones of Teresa Teng linger in the breeze behind them like a lullaby as if in echo of a more innocent time.
Original trailer (no subtitles)
Teresa Teng’s “Toki No Nagare Ni Mi Wo Makase”