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There’s a pun embedded in the Japanese title of Yoshiyuki Kishi’s heartfelt drama (Ab)normal Desire in that first character in the word for “sexual desire” (seiyoku, 性欲) has been replaced by one that can be read the same but has the meaning of “correct”, or “proper”. But “normal” is also relative construct that implies conformance with the majority even if that may not actually be the case. As one of the protagonists later remarks “everyone is pervy” though they themselves feel such a degree of shame and otherness that it’s largely prevented them from living any kind of life at all.
In that sense it may be hard to understand why a fetish for water would invite such severe self-loathing in that it causes no harm to others if admittedly resulting in ridicule if exposed. Then again, society can be a fierce watchdog. Department store shop assistant Natsuki (Yui Aragaki) is taken to task by her pregnant colleague who refuses to take her seriously when she says she’s not really interested in getting a boyfriend before giving her a lecture about her biological clock. Though Natsuki appears uninterested in her vacant prattling, the woman later becomes upset and harshly tells her that she was only trying to be “nice” because she felt “sorry” for her and that making people be nice to you in this way is actually a form of harassment which, whichever way you look at it, is some particularly twisted logic.
Her alienation seems to stem from the fact that she feels “abnormal” and that her fetish for water is a part of herself she must be careful to hide. Her parents watch a news report on Tokyo Rainbow Pride and marvel at the idea that there are now choices other than marriage and children but even among the young there remains confusion and shame amid an inability to reconcile the seemingly opposing concepts of “normality” and “diversity” as they struggle to define themselves. A plan to have a male dancer who usually dances in a masculine style dance in a more feminine way backfires when he points out that asking someone to dance in a way they don’t want to doesn’t really do much to advance “diversity”.
But diversity isn’t considered an ideal by all and parents of young children find themselves confused and conflicted when their kids begin to reject conventionality at an early age by asking to withdraw themselves from school and instead focus on other kinds of education that align with their interests. Challenged by his wife about why he never listens to their son’s concerns, prosecutor Hiroki (Goro Inagaki) replies that he should “just be normal” and later describes people who are “unable to live normal lives” as bugs in the system which must eradicated. A symbol of lingering authoritarianism, Hiroki is an intensely conservative man obsessed with properness who thinks it’s his job to decide which crimes everyone is guilty of rather than make any attempt to understand the world around him outside of binary terms like right and wrong or normal and abnormal. When his assistant passes him information on fetishes as a potential explanation for the case of a man who repeatedly steals taps, he simply rolls his eyes and dismisses it.
Yet he perhaps has his own fears and internalised shame as evidenced by his outrage on discovering that another man has been coming to the house to help his wife with tech setup for their son’s new outlet in livestreaming and not only that, he was able to blow up the balloons that Hiroki himself failed to inflate. It’s his rigid authoritarianism that eventually alienates his wife and son who come to see him only as an oppressive bully unable to accept anything that differs from his own definition of “normal”. Finally, he’s the one who is isolated, imprisoned by his own repression and lack of understanding or unwillingness to accept those around him.
Even so, despite its positive messages that no one should feel themselves alone or that society has no place for them the film muddies the waters by introducing fetishes that are necessarily problematic in that they cause harm to others who do not or cannot consent and could not and should not be accepted by mainstream society though oddly those that have them seem to feel less shame only fearing being caught because acting on their desires is against both moral and judicial laws. In any case, in discovering togetherness, that they are not alone, those who feel their desires to be “abnormal” can begin to ease their loneliness and find a place for themselves in an often judgemental world.
(Ab)normal Desire screened as part of this year’s Toronto Japanese Film Festival.
Original trailer (English subtitles)
Windows on Worlds 