Yasuzo Masumura is generally remembered for dark, erotic and disturbing explorations of human behaviour but the early part of his career was marked by a more hopeful innocence and a less cynical yet still cutting humour. His debut, Kisses, was very much in the mould of the youth movie of the day but its themes were both more innocent and more controversial as a boy and girl bond after running into each other at the prison where both of their parents are serving time. Marked by darkness as it is, the worldview of Kisses is much kinder than Masumura would later allow as the pair of lovers seem to shake off their respective concerns to embrace the youthful joy and boundless freedom young love can offer.
The Blue Sky Maiden (青空娘, Aozora Musume), Masumura’s second film, does something similar but with added bite. Working for the first time with actress Ayako Wakao who would later become something of a muse, Masumura takes a typical melodrama storyline – the returned illegitimate child treated as a poor relation by her own “family”, and turns it into a genial comedy in which Wakao’s charming heroine shines brightly despite the often cruel and heartless treatment she receives. As far as the family drama goes, the genre was still in its heyday and the family unit itself fairly unquestioned yet as Masumura shows times were changing and perhaps the family is not the bedrock it initially seems to be.
18 year old Yuko (Ayako Wakao) stands at the gates of adulthood. Taking a last photo in school uniform with her high school friends as they prepare for graduation, Yuko expresses her nervousness about being sent to Tokyo to live with the family of a father she barely knows while her friends worry about getting married or getting stuck in their tiny village all alone respectively. Tragedy strikes when the girls’ teacher arrives on a bicycle and informs them that Yuko’s grandmother has been taken ill. On her death bed, the grandmother reveals the reason Yuko is the only one of her father’s four children to be raised in the country is not a concern for her health, but that she is illegitimate. Yuko’s father, unhappy in his marriage, fell in love with his secretary (Kuniko Miyake) who later gave birth to Yuko, but he was already married with two children and so Yuko’s mother went to Manchuria leaving her to be raised in secret in the country.
Having nowhere else to go, Yuko arrives at her father’s large Western style house to be greeted coldly by her half-siblings, and treated as a maid by her still angry step-mother while her father (Kinzo Shin) is away on business. It has to be said that this model middle class family are an extremely unpleasant bunch. Step-mother Tatsuko (Sadako Sawamura) is shrewish and embittered while oldest daughter Teruko (Noriko Hodaka) spends all her time chasing wealthy boyfriends (but failing to win them because she’s just as mean as her mother). The oldest brother (Yuji Shinagawa) idles away in a hipster jazz band while the youngest boy, Hiroshi (Yukihiko Iwatare), is rude and boisterous but later bonds with his new big sister when she is the only one to really bother interacting with him.
The Ono household has always been an unhappy one. Yuko’s father married his wife after being bamboozled into it by an overbearing boss trying to offload his difficult daughter. Feeling trapped and avoiding going home he fell in love with a kind woman at work, had an affair, and wanted to marry her but wasn’t strong enough to break off not only from his unwanted family but also from his career in pursuing personal happiness. By Masumura’s logic, it’s this failure to follow one’s heart which has poisoned the Ono family ruining not only the lives of Tatsuko and the children who have no respect for their father or capacity for real human feeling (as Yuko later tells them), but also that of Yuko’s poor mother whose life has been one of constant suffering after being unfairly jettisoned by a man who was bold enough to have an affair, but not to defy social conventions and leave an unhappy home.
Yuko herself, however, refuses to allow her life to be ruined by the failings of others. Looking up at the bright blue sky with her teacher (Kenji Sugawara), she learns to create her own stretch of heaven if only in her own mind. Though others might have fought and complained at being forced into the role of maid in what is her own family home, Yuko bears her new circumstances with stoicism and good humour. Thanks to her kindness and enthusiasm, the family maid, Yae (Chocho Miyako), is quickly on her side and if Teruko’s latest target, Hirooka (Keizo Kawasaki) starts to prefer the “new servant girl” his defection is completely understandable. Unlike later Masumura heroines, Yuko’s “revenge” is total yet constructive. She refuses to be cowed by unkindness, remains pure hearted in the face of cruelty, and resolves to find her own happiness and encourage others to do the same. With a few cutting words offered kindly, Yuko gets to the heart of the Onos, essentially reminding her father that all of this unhappiness is his own fault – he made his bed 20 years ago, now he needs to lie it and be a full-time husband and father to the family of lonely misfits he created in the absence of love.
Light and bright and colourful, The Blue Sky Maiden is among Masumura’s more cheerful films, not least because it does seem to believe that true happiness is possible. Yuko does not so much defy social convention as ignore it. She lives openly and without rancour or regret. She takes things as she finds them and people (aside from the Onos) are good to her because she is good to them. Though Masumura’s later work would become increasingly dark and melancholy, Yuko bears out many of his most central themes in her steadfast claim to her own individuality and equally steadfast commitment to enabling the happiness of others in defiance of prevailing social codes.
London’s 
The festival will open with Atsuko Hirayanagi’s Cannes sleeper hit 
The only feature documentary on the list, 
A haunted guitar amp promises a struggling musician everything he’s ever dreamed of in 
It has been centuries since humanity’s clones rebelled and went to live underground. Now an intrepid band of humans must venture into their world to investigate the the fate of the self exiled creatures in Takahide Hori’s impressive stop motion animation, 
Eiji Uchida’s 
Kazuyoshi Kumakiri (
Yusaku Matsumoto’s 
In Junpei Matsumoto’s 
Ordinary housewife Mariko is married to a younger man with whom she has a son, but Tomoharu is often away from home and she is beginning to believe he is having an affair. Meanwhile, her manager harasses her at work and the customers are constantly rude. Under such strains, Mariko’s perception of reality starts to disintegrate in Koji Segawa’s indie drama 
The only non-Japanese East Asian film on offer is Huang Ji & Ryuji Otsuka’s 
Now in its 70th year, the 
Visual artist Xu Bing’s first debut feature 
Wang Bing’s documentary 
In Kim Dae-hwan’s 
Ryutaro Ninomiya directs himself in 
The first feature documentary from Lee Yong Chao, 
Han Yumeng’s 
Kei Chikaura’s 
The Venice Film Festival has unveiled the full lineup for 2017. Sadly, it is a poor showing for East Asian cinema with only four films in total included in this year’s programme (bar the possibility of a few late additions announced as the festival gets closer) and only Japan and China represented.
The biggest hitter in terms of the festival as a whole is Takeshi Kitano’s Outrage Coda. The third in Kitano’s Outrage saga, Coda follows Otomo (played by Kitano himself) as he returns to Japan following gang trouble in South Korea. Outrage Coda will screen as the closing night gala.
The only other Japanese film included in the programme this year is the latest from festival favourite Hirokazu Koreeda – The Third Murder. A departure from Koreeda’s usual focus on drama, The Third Murder is a crime thriller in which Masaharu Fukuyama (Like Father, Like Son) plays top lawyer Shigemori working on the defence of a murder/robbery suspect (Koji Yakusho) who previously served time for murder 30 years before. The defendant admits his crime and wants to plead guilty even if he will almost certainly get the death penalty but the more Shigemori looks into the case the more doubts he accrues.
Moving on to China, Ai Weiwei’s documentary Human Flow charts the global scale of the ongoing refugee crisis. Playing in competition.
Finally Vivian Qu’s Angels Wear White is the story of two teenage girls assaulted in a hotel room by a middle aged man, and the receptionist who says nothing in fear of losing her job. Sadly, Vivian Qu is also the only female director with a film playing in competition.
History books make for the grimmest reading, subjective as they often are. Science fiction can rarely improve upon the already existing evidence of humanity’s dark side, but Genocidal Organ (
Depictions of wartime and the privation of the immediate post-war period in Japanese cinema run the gamut from kind hearted people helping each other through straitened times, to tales of amorality and despair as black-marketeers and unscrupulous crooks take advantage of the vulnerable and the desperate. In This Corner of the World (この世界の片隅に, Kono Sekai no Katasumi ni), adapted from the manga by Hiroshima native Fumiyo Kouno, is very much of the former variety as its dreamy, fantasy-prone heroine is dragged into a very real nightmare with the frontier drawing ever closer and the threat of death from the skies ever more present but manages to preserve something of herself even in such difficult times.
Now in its 21st year, Montreal’s 
Japan Foundation London is back with another early summer series of free film screenings and this time the focus is very much on food! Summer Explorers 3 takes place over two Saturdays – 15th and 22nd July, 2017, at the Prince Charles Cinema and BAFTA respectively. Tickets are free but you can only reserve seats at one film on each day (if you apply for more than one film you’ll be placed on the waiting list for your second choice). Full details on how to apply can be found on the 
Kazuhiro Soda’s documentary The Oyster Factory which examines a local oyster fishing community as it welcomes two workers from China.
Co-written by Masahiro Shinoda, Masaki Hamamoto’s Akanezora – Beyond the Crimson Sky stars Masaaki Uchino as a tofu maker who travels from Kyoto to Edo, sets up a shop and marries a local girl.
Inspired by Hiromu Arakawa’s popular manga, Silver Spoon is the story of city boy Yugo who enrols in an agricultural college in Hokkaido to get away from his overbearing parents.
Yukiko Mishima’s Drop of the Grapevine is the second in the director’s Hokkaido series and stars Yo Oizumi and Shota Sometani as two farming brothers one of whom operates a vineyard while the other grows wheat to make bread.
