Category: Japan

Dreams on Fire (ドリームズ・オン・ファイア, Philippe McKie, 2021)

March 3, 2021January 27, 2022by Hayley Scanlon2 Comments

“A dancer must always be careful” the heroine of Philippe McKie’s Tokyo odyssey Dreams on Fire (ドリームズ・オン・ファイア) is warned, though her passage may prove smoother than that of many small town girls coming to the big city in search of fame and fortune. Nevertheless, her progress will take her through the unseemly underbelly of the entertainment industry rife with exploitation and duplicity to the relatively comforting world of fringe subcultures where mutual support is a way of life and failure merely another kind of opportunity.

As a young girl, Yume (dancer and model Bambi Naka in her first leading role), whose name literally means “dream”, is captivated by an avant-garde dance performance and determines to become a dancer herself though her authoritarian father (legendary butoh dancer Akaji Maro) does not approve of her artistic ambitions and attempts to forbid her from leaving for Tokyo but she defies him and leaves anyway. Once there, however, she finds herself struggling to survive living in tiny cubical rooms and able to support herself only by working on the fringes of the sex trade in a cosplay hostess bar dressed as a schoolgirl. She pursues her dancing dream by visiting underground hip hop clubs but receives the first of many setbacks when she’s voted out of a dance off in the first round in favour of a talented child in an improbably snazzy outfit.

Nevertheless, as the first of her teachers, who happened to see and admire her performance, tells her the humiliation of losing only smarts so much because you care which is the kind of pain you can easily repurpose for motivation. This is a motif which will be repeated in Yume’s life which proves nowhere near as dark or depressing as one might assume though it’s true she continues to experience setbacks and disappointments while occasionally doubting her vocation as a dancer in the face of seemingly constant failure but always rescued by another hopeful who saw and liked her performance even if the judges might have preferred someone else.

Yet as she finds out, dance talent isn’t all it takes in the contemporary arts scene. An audition she might otherwise have booked is lost at the last moment when she confesses she’s not got many followers on social media, the interviewer patiently explaining that she might be a better dancer than anyone in their current troupe but their business is built on “image” and dependent on their online reach so someone with no profile is of not much use to them though they’d love to see her again once she’s successfully built her “brand”. Conversely, a client at another job working the floor show at an S&M-themed bar gets her a job coaching an aspiring underground idol who apparently can’t dance for toffee, but once she gets there Yume quickly realises the young woman’s lack of aptitude is a result of her exploitative treatment at the hands of the idol industry. Apparently not allowed to change her outfit even if it smells she’s been instructed not to eat to keep her weight down which of course leaves her lightheaded and low in energy, an unhelpful combination for learning complicated dance routines. On the way out, Yume hears the other members of the band bullying her though there’s nothing she can do to help.

Meanwhile, she finds it increasingly difficult to weigh up the degrees of exploitation she’s willing to accept from her increasingly manipulative boss at the hostess bar (Masahiro Takashima). Her first friend, Sakura (AV actress Okuda Saki), had taught her the ropes cautioning her never to let anyone touch her in ways that make her uncomfortable but herself quits abruptly in embarrassment after a customer brings up her past as an AV star thereafter disappearing without trace. Sakura had explained in an ironic paradox that she wasn’t in hostessing for the money but was essentially lonely, introducing Yume to the first of her experiences of the more unusual aspects of the Tokyo subculture scene in a metal bar where she fondles a lizard over drinks but is herself perhaps slightly lost in an internalised and unwarranted shame because of her past in the porn industry. This seems to be a fate Yume is keen to avoid, eventually telling her exploitative manager where to go rather than consent to his control after narrowly escaping a dangerous encounter with “important” yakuza clients.

Going by “Asuka” at the club and eventually assuming the dancer name of “Karasu” (crow), Yume searches for an identity while continuing to pursue her dream but perhaps unrealistically meets only good and supportive people outside of the exploitative Kabukicho bar world discovering in her various subcultures from fetish clubs to the dance studio only dreamers like herself eager to see others succeed. Capturing the neon night life of the contemporary city, McKie’s camera perhaps leans too far towards the ethnographic in its slight exoticisation of the underground Tokyo scene even if admittedly seen through the eyes of country girl Yume but also allows her to find within it freedom and self-actualisation while her talent takes her in new, sometimes unexpected directions, as she continues to pursue her dream in an atmosphere of positivity and mutual support.

Dreams on Fire streams from 6th March as part of the Glasgow Film Festival.

Soirée (ソワレ, Bunji Sotoyama, 2020)

March 1, 2021by Hayley Scanlon

“You can run but not from yourself” a gruff but sympathetic farmer explains to a fugitive young couple, astutely perhaps understanding the quality of their flight. Less a lovers on the run romantic fantasy than a gentle character study in trauma and insecurity, Bunji Sotoyama’s Soirée (ソワレ) finds its two wounded youngsters struggling to find safety and security in an increasingly indifferent society in which they are perhaps expected to care for an older generation they may feel has long since abandoned them.

Aspiring actor Shota (Nijiro Murakami) for instance has been participating in a spate of “It’s Me!” scams targeting the older generation in which they are convinced that their grandson has been involved in some sort of trouble and is in desperate need of money. We can see by the ambivalent look on his face that he hates himself for his “role” in this sordid piece of modern day drama but also that it plays into his self-destructive conviction that he is no good and cannot achieve conventional success. His need for slapdash, quick fix solutions is further driven home by the coach at his acting class who gives him a very public dressing down for coming in unprepared, insisting that he’ll never move anyone until he gets some real life experience and engages with the text.

While Shota takes an envelope from an anxious grey-haired old lady, Takara (Haruka Imou), a withdrawn young woman working at a nursing home, gently brushes another’s hair only for her to suddenly disappear while Takara hums a comforting lullaby. We witness her nervousness at the unexpected ring of the doorbell and the panic attacks when some of the older gentlemen mistakenly grab at her, later realising they are each responses to a deep-seated trauma as revealed by a letter telling her that her estranged father who had been in prison for long term abuse is about to be released.

The pair eventually meet when Shota returns to his hometown with an acting troupe hired to put on a play at the home though things get off to an ominous start when one of the old ladies suddenly collapses while working with the actors, the head of the troupe rather cynically musing on DNR orders and the desires of some absentee children to keep their parents alive in order to continue receiving their pension. These contradictory impulses, Takara’s warmth and compassion towards the elderly people in her care and Shota’s wilful exploitation of their weakness, is brought home when Takara’s father suddenly returns, barges his way into her home asking for a fresh start claiming to have paid his debt, and then proceeds to rape her all over again. Discovered mid-act by Shota who had come to collect her for the local festival, Takara eventually stabs her father with a pair of dressmaking scissors in order to protect him, the pair thereafter finding themselves on the run.

Coming to her senses, Takara intends to hand herself in but is convinced by Shota to make a run for it. “Why do the ones who struggle most get hit worst, why do the weakest always lose?” he ironically asks her, “We weren’t born to be hurt”. Yet their contradictory qualities are only further highlighted as they try to chart a new course for themselves. The pair find temporary refuge with a pair of plum farmers who take pity on them thinking they are a young couple eloping as apparently they once were, only Shota later makes a half-hearted attempt to rob them which he quickly gives up on being challenged by the sympathetic husband. In the next town, Takara determines to look for work while Shota tries to make money through bicycle races and pachinko, chastened by her admonishment on finding employment that it’s possible to support oneself without cheating others.

Somewhat tritely, Shota tries to tell her that God never burdens you with more than you can bear, while the older woman at the plum farm also offers that plums are all the sweeter for their suffering during a harsh winter dangerously playing into a notion of internalised shame that told Takara she would blossom into the kindest soul who ever lived once her suffering was over only to leave her feeling empty and despoiled as if she somehow deserved everything that happened to her. Shota’s troubles are by comparison small, his conservative brother irritatedly telling him he should accept he has no talent and get a real job, while he too perhaps thinks he is empty inside and therefore incapable of moving anyone just as his director told him. Finding salvation in mutual acceptance they begin to see the “way out” only for their essential connection to be threatened by its very existence.

A melancholy character study through the legacy of trauma and toxicity of internalised shame, Sotoyama’s occasionally ethereal drama takes on the qualities of a fable through the repeated allusions to princess Kiyohime and her doomed love for the wandering monk Anchin yet he is careful enough to hold out a ray of hope for each of the wounded lovers in their apparently fated connection even as they struggle to find refuge in an often hostile society.

Soirée streamed as part of the 2021 Japan Foundation Touring Film Programme.

Original trailer (English subtitles)

Our 30-Minute Sessions (サヨナラまでの30分, Kentaro Hagiwara, 2020)

February 28, 2021by Hayley Scanlon1 Comment

“I want to move on” a grieving young woman explains, though perhaps ironically heading in the wrong direction. A youthful take on learning to live with loss, Our 30-Minute Sessions (サヨナラまでの30分, Sayonara made no 30-bun) finds a group of college hopefuls shattered by the unexpected death of a charismatic friend leaving them each lost, moving on in one sense but treading water in another uncertain what to do with the unfulfilled potential of their adolescent memories. Yet, through ghostly intervention, what they eventually realise is that nothing’s ever really lost, the echoes of those memories merely add to the great symphony life and all you can do in the end is learn to play along with it.

That’s something introverted college student Sota (Takumi Kitamura) has however struggled with, unable to emerge from the trauma of losing his mother at a young age. As we first meet him, he’s subjected to a painful group interview for a regular salaryman job at which they ask about the memories he’s made with his university friends but rather than come up with a convincing lie, Sota honestly tells them he has no friends and that’s a good thing because it means he’s free to dedicate himself to work 100%. As expected, he gets a rather brutal rejection text before he’s even reached the lift, pausing only to rudely but perhaps accurately decline an invitation to join a WhatsApp group with the other hopefuls for the reason that it’s “pointless” because they’re unlikely to meet again.

Sota doesn’t like to share his space with other people, but after noticing a walkman abandoned at a disused swimming pool finds himself a permanent host to Aki (Mackenyu), recently deceased lead singer of up-and-coming college band Echoll. Unlike Sota, Aki is charismatic and outgoing, every inch the rock star but less cocky than aggressively caring. It pains him that the thing he left unfinished has fallen apart in his absence and that all his friends seem to have given up their dreams and aspirations in life. For unknown reasons it seems that when Sota presses the play button on the walkman, it allows Aki to take over his body for the length of a single side of a cassette tape temporarily lending him the swagger and verve hitherto missing in his life even if he claimed not to particularly have missed them.

In fact, Sota quite enjoys the arrangement because it means he doesn’t quite exist for the time the tape is playing, other people are no threat to him in his literal invisibility. Yet over time, a conflict obviously develops especially as the main thrust of Aki’s mission is healing his former girlfriend’s broken heart. Having lost her love of music, Kana (Sayu Kubota) has spent the last year largely inside working her way through a book of daily soup recipes that only her mother tastes. She claims she’s “moved on”, but in reality has done anything but caught in a kind of limbo unable to let go of her guilt and memories of lost love while conflicted as she bonds with the shy and introverted Sota himself it turns out also a frustrated musician.

A poignant reminder of Aki’s unfinished business as he and his friends attempt to find a degree of accommodation with loss the Japanese title translates more closely to “30 minutes to goodbye”, but there’s also something in the Japanese for playback (再生) equating to “again life” as it grants the late singer a temporary resurrection if one that lasts only the length of a set list. Perhaps a hipsterish affectation, the love of the outdated analogue recording mechanism, besides its practical advantages, provides a tangible proof of life albeit a fallible one in which every attempt to replay necessarily weakens integrity. Yet as a veteran later puts it, no matter how many times the tape is erased and overwritten, traces of previous recordings remain becoming in a sense just one of many layers that add depth and richness to the quality of the whole.

The bandmates begin to realise that starting over doesn’t mean forgetting Aki or betraying his memory, they don’t have to leave him behind but can in a sense take him with them in the memories they share while Sota eventually begins to see the joy in human interaction and the power of connecting through music shedding his introversion in the knowledge that not all friendships are inauthentic and even if someone makes an early exit they leave traces of themselves behind on which others can build. A stylistically interesting take on the band movie with a fantastic soundtrack of convincing college rock hits, Our 30-Minute Sessions is a classic coming-of-age drama but one dedicated perhaps less to the art of moving on than to that of moving forward adding new notes to an ever expanding symphony of life.

Our 30-Minute Sessions streamed as part of the 2021 Japan Foundation Touring Film Programme.

Original trailer (no subtitles)

his (Rikiya Imaizumi, 2020)

February 27, 2021by Hayley Scanlon1 Comment

Though Japanese society is often regarded as comparatively liberal, that liberality can sometimes reflect a superficial politeness and respect of discretion more than true acceptance. Though several prefectures have now made local provision for same sex unions, Japan lacks a basic anti-discrimination law at the national level protecting the rights of LGBTQ+ people and has often been slow to accommodate social change especially when it comes to the organisation of the family unit. The journey of the two men at the centre of Rikiya Imaizumi’s his, a sequel to the TV drama of the same name set some years earlier, perhaps travels at a rapid pace from internalised homophobia to the acceptance of identity and foundation of a home but mirrors the path of society at large as it edges its way towards the truly liberal in which all are free to live in the way they choose.

Beginning with an ending, Imaizumi opens in the “past” as Shun (Hio Miyazawa), now an isolated young man living alone in the country, dwells on ancient heartbreak as his first love Nagisa (Kisetsu Fujiwara) abruptly breaks up with him as they prepare to graduate from university. We subsequently discover that Shun got a regular salaryman job but remained in the closet only for rumours to circulate around him at work forcing him to endure the casual homophobia of his co-workers at the compulsory nomikai all the while denying his true identity. This seems to be the reason that he’s taken up the offer of cheap rural housing designed to bring the young back to the depopulated countryside and has been largely keeping himself to himself, growing his own produce and deliberately keeping the locals at arms’ length. All that starts to change, however, when Nagisa suddenly turns up on his doorstep with his six-year-old daughter Sora (Sakura Sotomura) in tow.

Though not exactly overjoyed, Shun allows the pair to stay but remains conflicted unsure what it is Nagisa wants from him and also fearful of his new life being derailed should the local community discover what it is that he’s so obviously in hiding from. Nagisa, meanwhile, apparently broke up with him for the same reasons, afraid to continue into his adult life as an openly gay man eventually travelling to Australia where he drifted into a relationship with a Japanese woman, Rena (Wakana Matsumoto), working as an interpreter with whom he later conceived a child and formed a conventional family. Struggling with himself he tried to maintain the facade through casual relationships with men, but discovered that he couldn’t make it work and unlike Shun decided the only way out of his predicament was to embrace his sexuality and attempt to live a more authentic life with the man he never stopped loving.

Having pursued contradictory solutions to the same problem, the two men find themselves still in some senses at odds even as they reunite in their obvious love for each other. Nagisa envisages for them a family life raising Sora together and with the help of his sympathetic, supportive lawyer intends to have his conviction vindicated by a verdict in law but his former wife, while not openly hostile if obviously hurt and feeling humiliated in having been deceived, wishes to retain custody of her daughter even though she was not the primary caregiver. The court battle opens a veritable can of worms in a fiercely patriarchal, conformist society, Nagisa’s lawyer reminding him that he has an uphill battle because society inherently believes that women are better suited to childrearing. Rena’s lawyer throws the homophobic book at them, describing the relationship between the two men as “eccentric”, implying it cannot be other than harmful to Sora not least because of the bullying and social stigma she may face as a daughter raised by two fathers. Even the judge agrees that the situation is “not exactly normal”, though in this he may have a point in the fact that Nagisa had been a househusband and his wife the breadwinner, still an extraordinarily unusual family setup in a society in which women are expected to shoulder the domestic burden sacrificing their careers in the process.

Indeed, it’s this same paradox that Nagisa’s female lawyer eventually throws back at Rena, that she cannot claim to adequately care for her daughter while working especially as she is a freelancer whose hours are often unpredictable. Rena had been reluctant to involve her family because of the shame of admitting her marriage has failed and for the reason it has but is later forced to ask her mother for childcare assistance only to receive a curt “I told you so” which speaks volumes as to the quality of their relationship. Meeting in a coffeeshop Rena looks at her mother looking askance with mild though unvoiced disgust at two men holding hands, reflecting both on her unforgiving austerity and her relationship with her granddaughter. The two women obviously differ when it comes to childrearing philosophy, Rena not wanting her daughter to suffer in the same way she has suffered because of her mother’s unforgiving conservatism and is extremely worried on being called to the school and told that Sora, who had previously been so cheerful and outgoing, has become sullen and withdrawn.

Yet Sora is perhaps the force which allows each of her parents to accept themselves for who they are and embrace their true identities. Worried that she might be a burden to her mother who often drinks and appears to resent her for interfering with her work, Sora wonders why everyone can’t just get along and live together happily. She sees nothing “weird” in her father’s new relationship, though perhaps fails to understand why the four of them might not be able to live together as a family. Supported by Sora, Shun begins accept himself for himself, eventually coming out to the community and finding them entirely unbothered by his revelation bearing out the commonly held belief that small rural communities are often far more liberal than the famously conservative capital. Filled with a sense of love and mutual support, his presents a perhaps idealistic view of the modern society but an infinitely hopeful one as the three adults resolve to be kinder to themselves and others as they move forward together into a happier, more authentic existence.

his streamed as part of the 2021 Japan Foundation Touring Film Programme.

Original trailer (English subtitles)

Tokyo Bay (東京湾, Yoshitaro Nomura, 1962)

February 26, 2021February 26, 2021by Hayley Scanlon

Yoshitaro Nomura is most closely associated with the thriller and particularly with its lower end as a purveyor of B-movie noir, yet look a little closer and his films are perhaps not really about crime at all but about the complicated relationships between people in the ever changing post-war society. Just as Stakeout is really about a policeman’s marriage, Tokyo Bay (東京湾, Tokyowan) is less concerned with the radiating corruption of the smuggling ring at its centre than with frustrated male friendship and the wartime legacy.

Opening with an aerial pan over post-war Tokyo, a title card informs us that this is just one frame in the “intense struggle for existence” in a city of 10 million before we arrive at the titular bay and a boat which is presumably carrying drugs later passed from one hand to another. The fixer, Takeyama (Kei Sato), talks to a man in a car and instructs him to be in front of the Taiyo building before 10am to pick up a golf bag from his contact. Gazing up at a post-war construction site, however, the man, Saeki (Jun Hamamura), is shot in the head and killed by a bullet piercing the roof of his car, Nomura suddenly switching to a disorientating POV shot as he twists in a sudden death spiral.

As it turns out, Saeki was a plant, an undercover cop with the drugs squad sent to expose the smuggling ring the shadowy owners of which will predictably turn out to have Chinese connections in another echo of post-war cinema’s continuing Sinophobia. Two officers are assigned to the case, the young and earnest Akine (Jiro Ishizaki), and the veteran Sumikawa (Ko Nishimura) who acts largely on a series of inexplicable policeman’s hunches. Their major lead, however, comes as a stroke either of dumb luck or dark fate as Sumikawa, dodging into a dodgy mahjong parlour while tailing Takeyama, runs into an old army buddy, Inoue (Isao Tamagawa), who just happens to be a left-handed sniper perfectly matching the profile of the man they’ve been looking for.

While Sumikawa keeps tabs on his old friend, somehow feeling he has something to do with all this but ambivalent in his torn responsibilities, Akine travels to Inoue’s hometown of Onomichi and sympathetically concludes that he was merely “rather unfortunate”. His life derailed by the war, Inoue returned to discover the girl he hoped to marry had married someone else. Giving evidence at Inoue’s trial for pulling a knife on her husband, the young woman remarks that she never promised him anything and did not consider their relationship to be serious, merely treating him with the politeness due to someone about to leave for war. In any case, she asks, even if she had been in love and intended to wait for him, as an orphaned woman there were only two choices open to her to survive, marriage or sex work, what else could she have done?

Back in Tokyo, Sumikawa begins to catch up with his old friend, realising that his romantic disappointment set him on a dark course of bad relationships and a drift towards crime but that he seems to have turned himself around. He is now happily married to a woman he describes as “simple” who seems devoted to him and if he did this, he did it to start again. His one last job intended to take him back to Onomichi, a pleasant coastal town the bay of which he describes as far more beautiful than that of the grimy, industrial Tokyo and largely untouched by urban corruption. Sumikawa feels himself torn, not least on account of the debt that exists between the two men because Inoue once saved his life, but also knowing that he may have to arrest this man and destroy his attempt to return to a more innocent world leaving his wife alone. Disapproving of the nascent relationship between his younger sister Yukiko (Hiromi Sakaki) and his partner, Sumikawa worries Akine may be becoming the kind of man who cares more for making an arrest than friendship, a conflict presumably weighing on his mind, even as he agrees he’s a good man and a good police officer. Yukiko meanwhile fires back that Sumikawa’s wife left him not because he is a policeman but because he is selfish and arrogant, and more to the point incapable of understanding a woman’s feelings.

Nevertheless, he’s acutely aware of the effect his actions or inactions may have on Inoue’s wife Yoshiko (Kyoko Aoi), especially as it’s suggested she may need a degree of looking after. Inoue, careful to admit nothing, reveals that the man who carried out the hit may not have known he was killing a police officer but may have assumed the target was fair game being, like themselves, a denizen of the underworld. Largely a MacGuffin, the smuggling ring is not as important as one might assume, the two men locked into a cycle of guilt and retribution each marked by wartime trauma and in a sense unable to claim their place in the post-war society. Twin betrayals lead to a fateful, train-bound showdown shot with fraught claustrophobia as each man engages in an intense struggle for his survival but also perhaps already defeated in a shared sense of fatalistic nihilism. Trekking through the half-constructed streets of the post-war city with shaky handheld Nomura hints at the radiating corruption exemplified by the growth of the trade in drugs, but perhaps one corruption is merely the result of another which may in turn be far less easy to cure.

Farewell: Comedy of Life Begins with a Lie (グッドバイ～嘘からはじまる人生喜劇～, Izuru Narushima, 2019)

February 25, 2021by Hayley Scanlon

“You wrote that a man should be pure and honest” a conflicted editor reminds his friend, “yes”, he replies, “but that was fiction.” Osamu Dazai is not particularly remembered for his sense of humour, but Farewell: Comedy of Life Begins with a Lie (グッドバイ～嘘からはじまる人生喜劇～, Goodbye, Uso kara Hajimaru Jinsei Kigeki) adapted from a play by Keralino Sandrovich (Crime or Punishment?!?) inspired by his final and in fact unfinished novel Goodbye is a dark-hearted farce grafting ‘30s screwball comedy onto an ironic satire of heartless post-war capitalism through the prism of one man’s emotional cowardice.

As the black and white newsreel-style opening informs us, literary magazine editor Tajima (Yo Oizumi) made a bit of money on the black market amid post-war chaos but is beginning to feel conflicted about his Tokyo existence especially after receiving a postcard from his small daughter Sachiko in provincial Aomori whom he hasn’t seen since her infancy. His problem is that he’s an inveterate womaniser with several mistresses on the go at once who ironically all already know that he’s a married man, to that extent “honest” at least, but remain unaware of each other. Suddenly wanting to reform his image and become a proper father to his little girl, he’s realising he ought to sort out his problematic love life but Tajima is also the sort of man who can’t bear unpleasantness and is too frightened to break up with his lady friends in case they cry. His writer friend, Rengyo (Yutaka Matsushige), comes up with a cunning ruse – find a pretty woman to pretend to be his long absent wife returned and the mistresses will most likely retreat voluntarily. Tajima decides to do just that on catching sight of a beautiful lady through a peephole in the gents at a bathhouse only she turns out to be someone he already knows, manly black-markeeter Kinuko (Eiko Koike) who secretly loves dressing up in the latest fashions.

Kinuko is in a sense everything Tajima is not. An abandoned child, she’s learned to take care of herself and is strong both physically and emotionally. She agrees to help him with his nefarious plan because he offers to pay her handsomely, feeding her well in her copious desire for food which perhaps indicates her strong desire to live in a society where many are starving. She’s a black-marketeer because that’s all that’s left for her to be and perhaps has made her peace with exploiting the desperation of others in the knowledge that they also need the service she provides. In any case, she won’t let herself be trampled, frequently getting into fights with male dealers and later throwing Tajima off a balcony when he follows some bad advice from Rengyo and attempts to seduce her in the hope that then he wouldn’t have to pay her for participating in his scheme to rid himself of extraneous women.

Yet it’s also clear that it’s women who are most at the mercy of the times, Tajima’s first mistress being a heartbroken war widow (Tamaki Ogawa) making a living as a florist who later attempts suicide after saying “Goodbye” to Tajima and the possibility of romantic salvation from post-war hopelessness (though her involvement with him does perhaps eventually lead her to that). The second mistress is a young painter (Ai Hashimoto) who approached him for work on the magazine attempting to support herself while her brother (Sarutoki Minagawa) remained in a Siberian labour camp, and the third is a self-assured doctor (Asami Mizukawa) looking perhaps for company though seemingly aware that Tajima is a weak-willed, unreliable man. His wife, Shizue (Tae Kimura), meanwhile, has become fed up with waiting for him to accept his male responsibility as a husband and father and unbeknownst to him his plans to keep her looked after may have backfired.

Yet strangely Kinuko finds herself falling for the “pathetic” Tajima without quite knowing why while he perhaps begins to accept that maybe what he needs is a capable woman to look after him because he is after all too cowardly to look after himself. He’s fond of saying that the war changed everything for everyone, but she points out that her life has always been one of scrappy survival and now perhaps they are all equal in that. The post-war world however seems to be in permanent decline, an associate of Tajima’s (Gaku Hamada) eventually becoming accidentally rich, buying a suburban mansion, dressing in a garish white suit and snarling with a mouth full of gold teeth as he advances that money is everything and can even love can be bought. In this at least it turns out he may be wrong. Taking a “detour” allows Tajima to shed his commitment phobia and finally say “Goodbye” to post-war limbo in embracing both a desire to live and the possibility of enduring love.

Farewell: Comedy of Life Begins with a Lie streamed as part of the 2021 Japan Foundation Touring Film Programme.

Original trailer (no subtitles)

Blue Ribbon Awards Announces Winners for 63rd Edition

February 24, 2021by Hayley Scanlon

The Blue Ribbon Awards, presented by film critics and writers in Tokyo, has announced the winners for the 63rd edition which honours films released in 2020. Fukushima 50, a tense dramatisation of the efforts to mitigate the crisis at the Fukushima Daiichi nuclear plant following the 2011 earthquake and tsunami, takes Best Film while Ryota Nakano takes home Best Director for The Asadas, Masami Nagasawa picks up Best Actress for her second consecutive year reprising her role in The Confidence Man JP, and Tsuyoshi Kusanagi takes Best Actor for his role as a transgender woman. Owing to the ongoing coronavirus pandemic, there will be no physical ceremony for this year’s awards.

Best Film

Fukushima 50 – Setsuro Wakamatsu draws inspiration from Ryusho Kadota’s nonfiction book to pay tribute to the workers who stayed behind during the crisis at the Fukushima Daiichi nuclear power plant.

Best 10

Presented in no particular order.

True Mothers – heartbreaking drama from Naomi Kawase in which a young couple adopt a baby only for the birth mother to resurface
The Asadas – latest from Ryota Nakano starring Kazunari Ninomiya inspired by the life of photographer Masashi Asada.
Underdog – boxing drama from Masaharu Take.
Ito – Heisei love story inspired by the classic Miyuki Nakajima song, directed by Takahisa Zeze, and starring Nana Komatsu & Masaki Suda
Theatre: A Love Story – A self-obsessed writer slowly destroys the joy and hope of a woman he claims to love then turns it into art in Isao Yukisada’s dark romance
Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train – record breaking movie of the hit TV anime in which a boy in the Taisho era tries to heal his younger sister after she is turned into a demon
Wife of a Spy – 8K wartime drama from Kiyoshi Kurosawa in which Yu Aoi tries to stop her husband Issey Takahashi from blowing the whistle after witnessing atrocity in Manchuria.
The Voice of Sin – Shun Oguri stars as a reporter investigating a 30-year-old unsolved case.
Fukushima 50 – Setsuro Wakamatsu draws inspiration from Ryusho Kadota’s nonfiction book to pay tribute to the workers who stayed behind during the crisis at the Fukushima Daiichi Nuclear power plant.
Midnight Swan – ex-SMAP member Tsuyoshi Kusanagi stars as a transgender woman who takes in a little girl neglected by her parents.

Best 10 Runners up

Presented in no particular order

A Beloved Wife – An unsuccessful screenwriter is henpecked by his understandably irate sake-guzzling wife in this autobiographical take on a toxic marriage.
Kyou Kara Ore Wa!!: The Movie – big screen outing for the TV drama adaptation of the high school delinquent manga by Hiroyuki Nishimori directed by Yuichi Fukuda..
The Confidence Man JP: Princess – sequel in which the gang of scammers try their luck in Malaysia
Any Crybabies Around? – a young man flees his family in embarrassment after going viral for getting drunk and being naked at a festival only to return two years later to make it up to them.
First Love – boxing drama from Takashi Miike
Mother – Masami Nagasawa stars as an abusive mother who pushes her teenage son towards murder.
Mishima: The Last Debate – documentary focussing on Yukio Mishima’s address to the students at the University of Tokyo in 1969
Minoriyuku – drama about an apple farmer who was born with a stammer and dreams of becoming a comedian.
Mio’s Cookbook – Haruki Kadokawa period drama in which a woman who lost her parents in a flood discovers a talent for cooking.
Yowamushi Pedal – live action adaptation of the popular high school bicycle racing manga.

Best Director

Eiji Uchida (Midnight Swan)
Naomi Kawase (True Mothers)
Kiyoshi Kurosawa (Wife of a Spy)
Nobuhiro Doi (The Voice of Sin)
Ryota Nakano (The Asadas)

Best Actor

Shun Oguri (The Voice of Sin)
Tsuyoshi Kusanagi (Midnight Swan)
Koichi Sato (Fukushima 50)
Kazunari Ninomiya (The Asadas)
Mirai Moriyama (Underdog)

Best Actress

Yu Aoi (Wife of a Spy)
Mana Ashida (Child of the Stars)
Hiromi Nagasaku (True Mothers)
Masami Nagasawa (Mother / The Confidence Man JP: Princess)
Asami Mizukawa (A Beloved Wife)

Best Supporting Actor

Satoshi Tsumabuki (The Asadas / I Never Shot Anyone)
Ryo Narita (The Cornered Mouse Dreams of Cheese / Ito)
Masahiro Higashide (The Confidence Man JP: Princess / Wife of a Spy)
Gen Hoshino (The Voice of Sin)
Ken Watanabe (Fukushima 50)

Best Supporting Actress

Sairi Ito (Theatre: A Love Story / Step / Junihitoe wo Kita Akuma / Hotel Royal)
Nana Eikura (Ito)
Haru Kuroki (The Asadas)
Becky (First Love)
Aju Makita (True Mothers)

Best Newcomer

Daiken Okudaira (Mother)
Sakurako Konishi (First Love)
Nao (Mio’s Cookbook / Stigmatized Properties)
Misaki Hattori (Midnight Swan)
Hio Miyazawa (his)
Nana Mori (Last Letter)

Best Foreign Film

Parasite

Foreign Film Best 10

13 because of multiple ties. Presented in no particular order

Never Look Away
1917
Judy
Bombshell
Little Women
Tenet
Onward
House of Hummingbird
Parasite
The Farewell
Ford v Ferrari (AKA Le Mans ’66 in some territories)
Midsommar
Wonder Woman 1984

Foreign Film Best 10 Runners Up

Presented in no particular order

Mr Jones
The Painted Bird
Abe
Cats
The Kindness of Strangers
Harley Quinn: Birds of Prey
A Rainy Day in New York

Sources: Eiga Natalie, Sports Hochi

Hello World (ハロー・ワールド, Tomohiko Ito, 2019)

February 21, 2021July 27, 2022by Hayley Scanlon

“Hello World” is a phrase familiar to many as the first line of text given to a new program. It signals firstly that the code is functioning correctly, but also expresses a sense of excitement and positivity as if a new entity were standing on the shores of an unfamiliar land eager for adventure. Tomohiko Ito’s sci-fi-inflected anime carefully places the phrase not at its beginning but at its conclusion, affirming that the hero has managed to step into himself, discover his place, and come to an understanding that grants him a sense of agency and possibility in a brand new world that is in a sense of his own creation and choosing.

Before all that, however, Naomi Katagaki (Takumi Kitamura) is a textbook “regular high school boy” who fears he is just an extra in his own life quietly reading away at the back of the classroom and last in line in the dinner queue. Reading a self-help book on becoming more assertive helps less than he might have hoped, but two changes are slowly introduced into his life albeit passively the first being he is press-ganged onto the library committee and the second that he is approached by a strange man who claims to be himself a decade older. Future Naomi (Tori Matsuzaka) claims not to have come from another time but from “reality”, explaining that the world Naomi currently inhabits is a simulacrum designed to perfectly preserve the city of Kyoto as a digital archive housed inside supercomputer Alltale which has infinite memory. His older self tells him that he is fated to fall in love with classmate Ruri (Minami Hamabe) but she will then be killed by a lightning strike at a festival in three months’ time. Though their actions will have no effect on the “real” world, Future Naomi claims it’s enough for him to “save” Ruri even if it’s only virtually seemingly caring little that he will in fact be completely ruining the Chronicle Kyoto project by introducing a note of the inauthentic perfectly primed for the butterfly effect.

In any case, what Naomi eventually discovers is that you can’t always trust “yourself” especially if you’re apparently merely data and therefore perhaps infinitely expendable. Young Naomi doesn’t seem particularly fazed by the revelation that his world is not “real”, and is perhaps overly trusting of his new mentor’s guidance following his instructions to the letter in accordance with the “Ultimate Manual” he’s been given to facilitate his romance with Ruri whom he originally claims not to fancy because like many immature teenage boys he only likes “cute” girls like transfer student Misuzu (Haruka Fukuhara) who literally sparkles while Ruri is like him a wallflower obsessed with books, shy and with an aloof, slightly intense aura. What Future Naomi offers him is pure male adolescent fantasy wish fulfilment in gifting him both the means for romantic success and literal superpowers in the form of the Hand of God which allows him to conjure objects from the digital world and will apparently help to save Ruri from her cruel fate.

The universe, however, has other plans. Soon enough he’s being chased by the forces of order, Homeostasis System Droids, trained to eliminate and correct inconsistencies in data appearing as oversize policemen in kitsune masks. Nothing in Naomi’s world makes much concrete sense, even as he’s been told he’s the creation of a simulacrum. Why would Future Naomi fetch up three months before the accident to train him rather than simply altering code, why would someone bother to create these universal super powers, and what exactly are the connections between this world and the “real” from which Future Naomi claims to have come? Some of this might well be explained by a final twist which turns everything we thought we knew upside down, implying perhaps that the gaps and contradictions we see are down to the vagaries of analogue rather than digital memory mixed with trauma both physical and emotional. Nevertheless, it turns out that Naomi’s mission is less to save Ruri than to save himself twice over, allowing Future Naomi to find an accommodation with the traumatic past while essentially giving birth to a “new world” of adulthood in which he is the fully actualised protagonist rather than the bit-playing extra he’s always believed himself to be.

Featuring character designs by Kyoto Animation stalwart Yukiko Horiguchi, Hello World’s 3D animation fusion of 2D reality and the digital realm makes for interesting production design as Naomi’s world eventually crumbles around him in multi-coloured pixel while he’s chased by giant neon hands under an angry red sky. Nevertheless, its wilful incoherence often proves frustrating even if its myriad plot holes might be explained in part by the final revelation which itself introduces another note of bafflement in its parting scene. Asking some minor questions about the collection, use, and storage of personal data, archival practice, the limits of digital technology, and the nature of “reality”, Hello World is nevertheless a coming of age romance at heart in which the hero saves himself twice over while learning to rediscover a sense of wonder in future possibility.

Hello World streamed as part of the 2021 Japan Foundation Touring Film Programme.

International trailer (English subtitles)

Osaka Asian Film Festival 2021 Announces Complete Lineup

February 15, 2021March 5, 2021by Hayley Scanlon23 Comments

The Osaka Asian Film Festival will return for its 16th edition as a physical event to be held in the city from 5th to 14th March. In line with coronavirus precautions, the festival will take place without guests or Q&As while a small selection of films previously screened at OAFF will also be available to stream online in Japan from 28th February. This year’s opening gala is the Ann Hui documentary Keep Rolling while Yuya Ishii’s The Asian Angel makes its World Premiere bringing the festival to a close on 14th March.

Bhutan

Lunana: A Yak in the Classroom – a frustrated teacher is dismayed to learn he’s being sent to a remote mountain outpost but is eventually won over by the kids. Review.

China

A Song for You – a nomad dreaming of becoming a folk singer encounters a young woman resembling the goddess of music who tells him he must record an album in this indie drama from Dukar Tserang.
Leap – Peter Chan’s New Year volleyball drama starring Gong Li as a legendary woman’s Olympic team coach.
A Summer Trip – warm hearted drama from Feng Keyu in which a grumpy old Korean war vet and his rebellious grandson go on a road trip in the days before the Beijing Olympics.

Hong Kong

Elisa’s Day – a policeman is forced to face a mistake he made 20 years previously while investigating a crime of passion.
Hand Rolled Cigarette – debut feature from Chan Kin-long starring Gordon Lam as a former soldier turned triad who bonds with a young South East Asian street thief.
Keep Rolling – documentary focussing on the life and career of director Ann Hui. Opening night gala.
The Way We Keep Dancing – artists and dancers come together to put on a show in protest to the increasing gentrification of the former Kowloon industrial district where they live.

Indonesia

Affliction – horror film from Teddy Soeriaatmadja in which a grieving wife tries to uncover the secret behind her mother-in-law’s decline.
Lovely Man – 2011 drama from Teddy Soeriaatmadja in which a young woman with strong religious views comes to the city in search of her estranged father who is now a transgender woman. Streaming online.

Japan

(C)Yukari Sakamoto

Along the Sea – drama from Akio Fujimoto following three young Vietnamese women who end up undocumented after leaving a training programme in Japan.
The Asian Angel – drama from Yuya Ishii in which a recently widowed novelist takes his young son to live with his brother in Seoul only to find his brother had exaggerated the degree of his success.
B/B – graduation film from Kosuke Nakahama in which a woman with multiple personality disorder is interviewed by police in connection with the killing of a convenience store owner in a 2020 which has also seen the Olympics cancelled due to corruption and a failed poison gas attack by a new religion.
Born in Hiroshima – personal documentary in which the director, born in Hiroshima but from Peking, charts his roots through the story of his izakaya-running family with whom he lived until the age of three.
Come and Go – A detective investigates the connection between the discovery of an old woman’s skeleton and a series of real estate scams by interviewing the local residents many of whom are migrant workers from other areas of Asia.
For Rei – A confused young woman begins to gain a degree of self-acceptance after facing the image of her absent father in Yukari Sakamoto’s indie drama. Review. First screened last year now streaming online.
Goto-san – drama following a young man living and working in a manga cafe who falls in love but then loses his job and place to live when the cafe is closed due to the coronavirus pandemic.
Green Jail – documentary focussing on an old woman who is the last survivor of forced labourers trafficked from Taiwan to work in Okinawa’s “Green Jail” during the colonial era.
itomichi – latest drama from Satoko Yokohama (The Actor, Bare Essence of Life) in which a young woman skilled in playing the Tsugaru-shamisen starts working in a maid cafe in order to get over her shyness.
JOINT – yakuza drama in which a man gets out of prison and enlists two old friends to start a business selling data for telephone fraud to the yakuza only to find himself trapped in the criminal underworld.
Love and the Grand Tug-of-war – love story between a young man who’s staked his youth on the local tug-of-war, and a medical student from Korea.
A New Wind Blows – latest indie film from Yutaro Nakamura focussing on romantic confusion.
Over the Town – ensemble drama from Rikiya Imaizumi following a young man who rarely leaves Shimokitazawa where he works in a vintage clothing store whose life changes when he’s asked to appear in an indie film.
OZU – third in Zon Pilone’s trilogy of films focussing on Sadao Yamanaka, Setsuko Hara, and Yasujiro Ozu.
POP! – collaboration between The Man Who Was Eaten screenwriter Masashi Komura and musician Aru-2
Sweet Bitter Candy – strange sad tale of a young woman on the cusp of adulthood and a misfit man from Yutaro Nakamura.
yes, yes, yes – story of a family’s destruction and rebirth from Akihiko Yano.
Young Birds – youth drama at which a trio of students at Digital Hollywood University, one Japanese, one Chinese, and one Thai, team up to complete their graduation movie.

Korea

Beyond You – latest from Alone/A Fish director Park Hong-min in which a man confronts the daughter of his first love who thinks he might be her father.
The Slug – whimsical time-shifting drama in which a young woman is haunted by the image of her traumatised childhood self.
Three Sisters – drama starring Moon So-ri, Kim Sun-young and Jang Yoon-ju as a trio of sisters returning home for their father’s birthday only for their younger brother to start causing trouble.

Mongolia

Black Milk – two sisters find their bond frustrated by cultural differences when one returns after many years of living in Germany.

Philippines

Here and There – love story about a young couple who meet remotely amid the coronavirus pandemic.
KINTSUGI – romantic drama in which a Filipino man travels to Japan to expand his pottery business and falls in love with the Japanese heiress of a pottery factory.

Singapore

Tiong Bahru Social Club – a young man goes on a comical journey through a data-driven project to create the happiest neighbourhood in the world.

Taiwan

Born to be Human – drama in which a 14-year-old boy discovers he is intersex.
Get the Hell Out – An idealistic former MP and a hapless, besotted security guard attempt to fight their way out of a zombiefied parliament in Wang I-Fan’s absurdist satire. Review.
Gwan Gung Vs. Aliens – newly restored 1976 SFX drama in which an ancient general is reincarnated to fend off an attack from laser-wielding giant aliens. Streaming online.
Hotel Iris – adaptation of Yoko Ogawa’s novel shifted to Taiwan and starring Masatoshi Nagase as a translator who develops a twisted relationship with a young woman working at the hotel.
The Rice Dumpling Vendors – An arrogant businessman rediscovers what’s really important after he unfairly throws out his wife and is cheated out of his riches by a wily mistress in Hsin Chi’s male melodrama Taiyupian. Review. Streaming online.
Wrath of Desire – latest drama from lesbian filmmaker Zero Chou in which a traumatised judge struggling with her Catholic upbringing and brother’s suicide enters a rebound marriage with a genderless young man in fear of her feelings for a woman she sent to prison for killing a man who broke into her home.

Thailand

The Con-Heartist – a woman whose boyfriend ran out on her saddling her with his debts is targeted by a conman but convinces him to help her swindle her ex instead!
P-047 – 2011 drama in which a locksmith and a novelist develop a hobby of breaking into people’s homes not to steal but to temporarily experience the lives of others. Streaming online.

Vietnam

ROM – The residents of a rundown slum awaiting demolition stake everything on lucky numbers in Trần Thanh Huy’s gritty portrait of modern Saigon. Review.
Sister Sister – psychological drama in which a TV presenter takes in a young runaway only to discover she has ulterior motives.

The Osaka Asian Film Festival runs from 5th to 14th March at venues across the city (coronavirus regulations permitting) with a selection of films screened in previous years also available online from 28th February. Full details for all the films as well as ticketing links are available via the official website. You can also keep up with all the latest details by following the festival on Facebook, Twitter, Instagram, and YouTube.

The Water Magician (瀧の白糸, Kenji Mizoguchi, 1933)

February 15, 2021by Hayley Scanlon

“As long as I breathe, I’ll remember my debt to you” avows a young man to his unexpected benefactor becoming one of many claiming they will never forget her kindness though in his case he actually means it. Kenji Mizoguchi would later become known for tragic tales of female suffering, but his central themes were established early on and very much in evidence in 1933 silent The Water Magician (瀧の白糸, Taki no Shiraito) in which a truly good woman tries to use her independent success to improve the lives of those around her but finds herself cruelly betrayed by a greedy and self-interested patriarchal society.

Tomo Mizushima (Takako Irie) goes by the stage name Taki no Shiraito, which means something like white threads of the waterfall, particularly apt seeing as she is a “water magician” with a troupe of itinerant players. A beautiful woman who can make the water dance, she has her share of followers and is financially independent if subject to the vagaries of the show business existence. Her life changes one day when she is travelling in a horse-drawn coach that is embarrassingly overtaken by a fast running rickshaw man. The passengers are irate, wondering what they’re paying for, while the driver ignores their pleas not to spare the horses. Tomo decides to use her feminine appeal and then her financial power to convince him to speed up, but he ignores her too until he eventually decides to gallop forward recklessly while the passengers shake inside until the coach’s axle finally snaps and leaves them stranded. A gallant young man, the driver grabs Tomo and throws her on his horse to get her to the next town. She faints on the journey and only comes round after the coachman has left but discovers herself in possession of a complicated law book she assumes is his.

Tomo cannot stop thinking about the dashing young man, only identified as “Kin” (Tokihiko Okada). She is surprised to reencounter him asleep on a bridge though he seems not to remember her. After finding out that he is an unluckily orphaned former samurai who was fired from the coach for breaking the axle and endangering the passengers, she resolves to use her financial power to help him achieve his dreams of studying law in Tokyo. Tomo does this because she is in love and asks for nothing in return except a future promise of romantic union to which the young man does not exactly agree but does take her money and vows to live up to the faith she has shown in him.

Alone once again Tomo tries to contend with the world around her while dreaming of Kinya, sending him her savings for his upkeep while the troupe continues to suffer especially during the traditional dry spells of the heavy winter. The troupe’s leader makes the decision to get involved with dangerous loanshark Iwabushi (Ichiro Sugai), a huge hulking man with a mean look and lecherous temperament. While Tomo dreams of Kinya, two romances mirror each other in the failed relationship of the cruel knife thrower Minami (Koju Murata) and his terrorised wife Gin (Kumeko Urabe), and the innocent young love of the beautiful Nadeshiko (Suzuko Taki) and the barker Shinzo (Bontaro Miake). Gin also borrows money from Tomo which she was reluctant to surrender because she saved it for Kinya, claiming she needs it to visit her sick mother in Tokyo and vowing once again never to forget Tomo’s kindness but later skipping out with a stagehand to escape Minami’s control. Nadeshiko and Shinzo, however, are forced to flee on learning that Minami plans to sell her to Iwabushi to settle his private debts. The couple regret leaving Tomo who has always supported them in the lurch, but she helps them escape, ushering them out the back towards a waiting boat and handing them still more money asking only that they be happy and stay together always.

That’s not perhaps a power that’s in their keep, but the youngsters keep it as best they can and eventually attempt to protect her in the way she has protected them. The world, however, is cruel. With work thin on the ground Tomo finds herself unable to go on funding Kinya as she’d promised, and is only shamed by his well-meaning letter explaining that he’ll try to find a way of supporting himself until his studies are finished so she needn’t worry. She cuts a deal with Iwabushi and sells her body on Kinya’s behalf, but he is in league with Minami who sets his goons on her to retrieve the money seconds after she’s obtained it.

Her hopes are at least repaid on discovering that her love is true to his word, has never forgotten her, and is well on the way to achieving his dreams as person of note. “Chance and fate, that’s all there is” Kinya had lamented on their second meeting, but he couldn’t know how right he’d be. Tomo’s dreams are fulfilled only their negation. Kinya must do his duty even if it does her harm, yet he too feels responsible and wants to share her burden though that, ironically, would only destroy everything for which she has sacrificed so much. “The river flows on as it always has and always will” the Benshi adds in solemn contemplation of this romantic tragedy, somehow inevitable in its cruelty. Tomo finds herself at the mercy of her times in which money is all, goodness is a weakness, and love too fragile to survive. The woman who made the water dance floats away on a river of tears, a victim of a cruel and unforgiving society.