There’s a kind of irony at the centre of Ryota Nakano’s The Asadas! (浅田家！,Asada-ke!) in that its photographer hero makes a name for himself photographing his family yet at times neglects them or appears curiously insensitive, perhaps even selfish in the pursuit of his dreams. Inspired by the life of photographer Masashi Asada, the film is at once a celebration of the family and an advocation for the tangibility of a photograph as a repository of memory that can bring comfort even in the absence of its subject.
The first part of the film is narrated from the perspective of Masashi’s (Kazunari Ninomiya) much more conventional older brother Yukihiro (Satoshi Tsumabuki) who is generally exasperated by and a little resentful of the family’s indulgence of Masashi, a seeming free spirit who acts on impulse and gives little thought to the consequences of his actions. People frequently describe both Masashi and his father Akira (Mitsuru Hirata) as “not normal,” and there is something unconventional in their family setup with Akira a househusband in a small town in the 1980s while his wife Junko (Jun Fubuki) supports the family with her career as a nurse. It’s Akira who first gives Masashi a camera and his dream of becoming a photographer which he eventually achieves through taking amusing pictures of his family in various scenes casting them as firemen, racing drivers, or even gangsters.
Masashi attempts to get the photos published as a book, but is quickly dismissed and told that no one wants to buy his personal family photo album. Though the publisher may have a point that in general people value photos of their own family but not those of others, the family photo itself is treated as a triviality as if it had no real worth. The same could be said of Masashi’s work, that some do not take it seriously because the subject is his own family. Yet Masashi finds new value in it in his ability to capture the essence of a moment in family life through a staged photograph such as that he designs for the family of a little boy who is dying of a brain tumour.
In the back of his book, eventually published by an eccentric woman who runs a small press and decides to take a loss because she found the photos so funny, Masashi pledges to travel anywhere to take similar photos for other families which of course means he is often separated from his own whom he then rarely photographs much to his father’s disappointment. After leaving for university, he had barely contacted them for two years while after travelling to the zone of the 2011 earthquake and tsunami he abruptly drops out of contact with his long suffering girlfriend Wakana (Haru Kuroki) after becoming immersed in the task of cleaning up the orphaned photos found among the wreckage.
Of course, there are those who object to his work thinking that there are more important things to do while so many people are still missing, but as he discovers recovering the photos gives people a sense of comfort and healing as if they were getting back a little bit of the past that had been taken from them and most particularly if the people in the photographs are no longer here. A little girl who’s lost her father is alarmed and resentful that she can find no photos of him, realising that he was rarely in the ones they took as a family and wondering if that meant he didn’t really love them hinting at an ironic sense of parental absence in that parents often take the photos of their children so do not appear themselves but still leave their imprint in a sense of absence in which every photograph also contains the invisible presence of the photographer.
And then sometimes the reverse is true. A grandmother comes looking for pictures of her grandchildren, but ironically finds pictures only of herself. The triviality with which the family photo was regarded seems almost offensive for something that can offer such comfort and warmth in a time of profound grief as a tangible link to a past that will never return. Masashi makes his family’s unrealised dreams come true through his photos, bringing them joy if also a little anxiety in a creating a perfect record of their unconventional family while Nakano does something similar capturing of the essence of a happy family life filled with equal parts laughter and tears.
The Asadas! screens Feb. 24 as part of Family Portrait: Japanese Family in Flux
Original trailer (Traditional Chinese / English subtitles)
Self disgust is self obsession as the old adage goes. It certainly seems to ring true for the “hero” of Miwa Nishikawa’s latest feature, The Long Excuse (永い言い訳, Nagai Iiwake) , in which she adapts her own Naoki Prize nominated novel. In part inspired by the devastating earthquake which struck Japan in March 2011, The Long Excuse is a tale of grief deferred but also one of redemption and self recognition as this same refusal to grieve forces a self-centred novelist to remember that other people also exist in the world and have their own lives, emotions, and broken futures to dwell on.
After such a long and successful career, Yoji Yamada has perhaps earned the right to a little retrospection. Offering a smattering of cinematic throwbacks in homages to both Yasujiro Ozu and Kon Ichikawa, Yamada then turned his attention to the years of militarism and warfare in the tales of a struggling mother, 
Tradition vs modernity is not so much of theme in Japanese cinema as an ever present trope. The characters at the centre of Yukiko Mishima’s adaptation of Aoi Ikebe’s manga, A Stitch of Life (繕い裁つ人, Tsukuroi Tatsu Hito), might as well be frozen in amber, so determined are they to continuing living in the same old way despite whatever personal need for change they may be feeling. The arrival of an unexpected visitor from what might as well be the future begins to loosen some of the perfectly executed stitches which have kept the heroine’s heart constrained all this time but this is less a romance than a gentle blossoming as love of craftsmanship comes to the fore and an artist begins to realise that moving forward does not necessarily entail a betrayal of the past.
Windows on Worlds 