“You can live however you want, you’re totally free. You can be anything” a woman tells her children, believing she is freeing them from a cycle of violence and oppression but unwittingly consigning them to another kind of cage in Kazuya Shiraishi’s raw family drama One Night (ひとよ, Hitoyo). Adapting the stage play by Yuko Kuwabara, Shiraishi is the latest in a long line of directors asking questions about the true nature of family, taking the hahamono or “mother movie” in a new direction but ultimately finding faith at least in the concept as the family unit finally begins to repair itself in a spirit of reconciliation and forgiveness.
The “one night” of the title is that of 23rd May, 2004 on which wife and mother Koharu (Yuko Tanaka) backs over her relentlessly abusive husband in one of the taxis operated by their company. At some point, even if only perhaps in those few moments sitting at the steering wheel, Koharu appears to have given this a great deal of thought. Calmly walking back into her familial home where her three children are each sporting prominent facial wounds from a recent beating, she hands each of them a handmade onigiri and explains that she has just killed their father. Planning to hand herself in she reassures them that an uncle will look after them and the company so they’ve no need to worry. She has no idea how long she’ll be in prison for, but cautions that she may not return for 15 years hoping that by then the stigma will have passed. On her way out, she pauses to tell them that she is proud of what she’s done, saving them from their father’s authoritarian abuse and urging them to be free to live their lives in whichever way they choose.
15 years later, however, the children find themselves burdened by her words. Yuji (Takeru Satoh) who dreamed of being a novelist has become a cynical journalist working for a pornographic magazine. Daiki (Ryohei Suzuki) who has a stammer and wanted to be a mechanic has never been able to hold down a steady job and is on the brink of divorce after showing signs of becoming abusive himself, while Sonoko (Mayu Matsuoka) who wanted to be a hairdresser is now working as a bar hostess drinking herself into oblivion. Living with the legacy of that one night, none of them has been able to live freely or to achieve their dreams but has remained arrested in some way waiting for Koharu’s return.
While in her mind she freed them, the children find themselves dealing with the secondary sense of abandonment in her decision to exile herself from their lives, essentially leaving them to deal with the fallout of her “crime” all alone. Not only are they now orphaned, they also have to live with the stigma of being related to a notorious murderess with all of the peculiar burdens that entails in Japanese society from harassment and bullying to reduced employment opportunities and an internalised shame. Meanwhile, their mother’s words ring in their ears, urging them to be free, to be who they wanted to be and achieve their dreams, but they find themselves paralysed by the pressure to live up to the sacrifice Koharu has made on their behalf. While Sonoko is the most sympathetic, the boys are consumed by resentment. Koharu sees her 15 years of wandering as an exile undertaken as a kind of atonement and intended to keep the children safe from further social stigma, but her sons feel only the abandonment.
Still, “mom’s still mom. It’s we who’ve got to change” Daiki tries to convince his brother, “we’re not kids anymore” he later adds as they recreate a thwarted teenage attempt to save their mother but in a very real sense they are. The problem in Daiki’s marriage turns out be rooted in insecurity, a failure of intimacy that saw him reluctant to let his wife and daughter into his traumatic past which finally expressed itself in violence. Meanwhile another driver at the taxi firm finds himself in a parallel struggle as he processes his own troubled relationship with an estranged teenage son and comes to realise his sins are indeed being visited on him despite his best efforts to prevent it. He sympathises with Koharu against the “ungrateful” children who, like the those of the classic hahamono, fail to understand the quality of their parent’s love as expressed in the sacrifices they have made on their behalf. Yet it’s Yuji who had branded his family a mere simulacrum who eventually fights hardest to save it, paving the way for a reconciliation as they finally bring closure to the events of 15 years previously and begin to move on with the rest of their lives. A raw and painful examination of familial trauma, Shiraishi’s bruising drama eventually allows the family to reclaim the night, repairing their fracturing bonds in sharing their emotional burdens freed at last from the oppressive legacies of abuse and resentment.
Original trailer (no subtitles)