“Where does Edo’s poop go?” it’s a question a child might ask but the rest of us somehow gloss over. In the modern world, if we were suddenly confronted with a lot of problematic poop, we’d have to pay someone to come and take it away and that person might then get paid twice for selling it on. In old Edo, however, manure merchants had to buy their raw materials (well, aside from those they could produce themselves) in the hope of selling them on to peasant farmers desperate for fertiliser. Junji Sakamoto’s Okiku and the World (せかいのおきく, Sekai no Okiku) takes a wry look at this circular economy in the dying days of the feudal era and in the end asks us if a samurai’s shit is really any better than anyone else’s.
In a sense it might be, given that historically samurai are better fed but even they are beginning to feel the pinch these days. Sakamoto opens in 1858 which is the year the Treaty of Amity and Commerce between Japan and the United States was signed opening the door to trade with other nations after two centuries of isolation. It is also 10 years before the Meiji Restoration and the eventual abolition of the samurai. Okiku (Haru Kuroki) is just one woman struggling with this moment of social change. Her samurai father Genbei (Koichi Sato) has been kicked out of his clan for challenging corrupt authority, so now she supports him teaching calligraphy at a local temple while the pair live in a rundown tenement in a forgotten corner of the city.
Fittingly enough, Okiku’s name and the film’s title with it is written in hiragana, but the character usually used to write it is that for chrysanthemum which is also of course a stand in for Japan itself. Genbei muses on what the world is, defining it as an expanse of skies and lamenting that those who have only just realised that the world is vast are ironically unable to look past their small corner of it amid the chaos of the bakumatsu era and what he describes as continual “unrest”. But then politics have little relevance to those living in this particular corner of the world or for those who quite literally shovel the shit day in day out just to be able to shit themselves.
Chuji (Kanichiro) and Yusuke (Sosuke Ikematsu) are manure men who purchase excrement from local communities and fine samurai houses to sell on to provincial farmers, transporting it by boat to a silo out in the country they occasionally bulk out with mud seeing as they’re paid by weight. Yusuke rails against his subjugation, revealing that at one particularly low point he was asked to wipe a samurai’s bum while otherwise constantly humiliated by their doorman who really does seem to think his shit’s better than anyone else’s. But as Yusuke points out, samurai or common man everyone eats and shits even if he describes himself as a literal bottom feeder who is nevertheless essential to the Edo-era economy. Without men like him, the samurai wouldn’t eat either because they’d have no crops to buy. Chuji may berate him for being all mouth and no trousers, but times are changing. Even he later mounts resistance by flinging his produce at a now powerless samurai.
Okiku meanwhile has been rendered mute, her voice silenced by the cruelties of the feudal order leaving her struggling to rediscover her place. She has fallen in love with Chuji, but they think they come from worlds even as they witness them merging and realise there is only one vast expanse under an unending sky. In a decade’s time, it won’t mean anything that Okiku is a samurai’s daughter and Chuji an illiterate peasant but for the moment every step towards each other is transgressive and requires courage in breaking an unthinkable taboo. Sakamoto homes in on the muddiness of this “hopeless shitty world”, the unending drudgery and nihilistic futility of feudalistic life but finally offers his shit-shovelling heroes a new sense of possibility amid the ever expanding vistas of a new society. Presented as a series of black and white vignettes each except the last ending in a moment of vibrant colour, the film finally discovers a sense of serenity as Okiku prepares to reenter the world having finally come to understand her place within it.
Okiku and the World screened as part of this year’s Nippon Connection.
International trailer (English subtitles)
Despite having started his career in the action field with the boxing film Dotsuitarunen and an entry in the New Battles Without Honour and Humanity series, Junji Sakamoto has increasingly moved into gentler, socially conscious films including the Thai set Children of the Dark and the Toei 60th Anniversary prestige picture 
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