If you had the opportunity to reunite with someone no longer here for a single night, would you take it? The young hero of Until the Break of Dawn (ツナグ, Tsunagu) is beginning to wonder whether or not it’s a good thing to be able to converse with the dead, if some people regret their choice to meet again, and if it’s better to just move on accepting that there will always be unanswered questions at the end of a life. Arriving shortly after the 2011 earthquake and tsunami, Hirakawa’s moving drama is a meditation on grief and living with loss, but also on life and legacy and everything it means to be alive.
High schooler Ayumi (Tori Matsuzaka) is being apprenticed by his grandmother Aiko (Kirin Kiki) to become a “connector” able to meet with spirits of the dead. As he explains to his potential clients, each person is allowed to meet only one other from the other side for one time only and should the deceased decline the invitation the petitioner will not be permitted to make another. If all goes to plan, Ayumi sets up a meeting at a fancy hotel where the pair can stay until dawn on the night of a full moon. Obviously this is not exactly a well publicised activity and the first customer Ayumi meets, Hatada (Kenichi Endo), is reluctant to trust him assuming it’s some kind of scam no better than an end of the pier clairvoyant despite repeated assurances that they accept no money and even the hotel expenses are covered.
Tellingly, in the first reunions which we see the deceased does not tell the living anything they did not already know, Hatada claiming that he wanted to talk to his mother to find out where she put the deeds for their house only for her to tell him he already knows where they are and obviously had some other reason for wanting to see her. Even Aiko admits that she can’t be sure she’s really summoning the spirit of the deceased, Ayumi wondering if they really call someone back from the other side or if it’s more like the memories of a person who is no longer alive that have remained in the world are pulled back to together building a composite picture of someone as others saw and remembered them. He isn’t sure if what they’re doing is ethical, or if some people might wish they’d never chosen to meet again. The subject of another meeting, a young woman who died while presumed missing, is uncertain whether to meet her former boyfriend on hearing that he had spent the last few years waiting for her return realising that the her that had remained in him will die when he is forced to accept her death but deciding it’s worth it so that they both can achieve some closure and he can perhaps begin to move on.
Moving on is something Ayumi is himself struggling to do, presented with the option of setting up a meeting of his own before he prepares to take over from his grandmother as the connector while meditating on the deaths of his parents wondering if he should meet one of them and simply ask why they left him behind. Meanwhile, he also finds himself proximate to death when a classmate is killed in a traffic accident, her guilt-stricken friend unknowingly asking for his services though for less than altruistic reasons worried her friend may use the service to tell others about their falling out. She’s fond of repeating the phrase that you regret more the things you didn’t do than the things you did though her reunion turns out to have a sting in the tail she may not have been expecting hinting at the bad outcomes Aiko had also warned were possible in such emotionally fraught situations.
The conclusion that he comes to is to embrace the true nature of his calling as a connector hearing that Aiko only got the power from her brother (Tatsuya Nakadai) to keep her connected to the family while she later gave it to her son for the same reason only to harbour a sense of guilt that her imperfect instruction may have contributed to his death. Learning to see with his heart, Ayumi comes to understand that just because you can’t see something doesn’t mean it isn’t there discovering a source of comfort in the feeling of someone gently watching over those below while accepting that perhaps it doesn’t matter if the reunions are real or illusionary because their true purpose is to comfort those left behind. A gentle meditation on grief and living with loss, Hirakawa’s quietly moving film eventually makes the case for growing old happily with no regrets living to the full until the break of dawn.
Until the Break of Dawn streamed as part of Japanese Film Festival Online 2022.
Original trailer (English subtitles)
Parks are a common feature of modern city life – a stretch of green among the grey, but it’s important to remember that there has not always been such beautiful shared space set aside for public use. Natsuki Seta’s light and breezy youth comedy, Parks (PARKS パークス), was commissioned in celebration of the centenary of the Tokyo park where the majority of the action takes place, Inokashira. Mixing early Godardian whimsy with new wave voice over and the kind of innocent adventure not seen since the Kadokawa idol days, Parks is a sometimes melancholy, wistful tribute to a place where chance meetings can define lifetimes as well as to brief yet memorable summers spent with gone but not forgotten friends doing something which seems important but which in retrospect may be trivial.
Review the concluding chapter of Takashi Yamazaki’s Parasyte live action movie (寄生獣 完結編, Kiseiju Kanketsu Hen) first published by 
Windows on Worlds 