Gift of Fire (太陽の子, Hiroshi Kurosaki, 2020)

“What can we do? It’s for the victory of our country” one woman stoically laments as her family home is demolished in an attempt to mitigate the damage from potential aerial bombing in Hiroshi Kurosaki’s wartime drama, Gift of Fire (太陽の子, Taiyo no Ko). A co-production between Japanese broadcaster NHK and American distributor Eleven Arts, Kurosaki’s ambivalent interrogation of the price of progress asks some difficult questions about scientific ethics while simultaneously suggesting we may have been stoking a fire we cannot fully control in a bid for a technological evolution which has become unavoidably politicised. 

The hero, Shu (Yuya Yagira), is an idealistic young man who excels at running experiments. He has been spared the draft because his work has been deemed essential for the war effort as he is part of the research team at Kyoto University working on the development of an atomic bomb. A theoretical thinker, Shu has not fully considered the implications of the project and largely views it as a problem they are trying to solve in the name of science rather than a concerted attempt to create a super weapon with the potential to bring death and destruction to the entire world. 

Others meanwhile are beginning to question the ethical dimensions of their work. The team is equipped with a shortwave radio receiving the American broadcasts and is fully aware that Japan is losing the war. There are frequent power outages which interfere with their research, while food shortages are also becoming a problem. The potter Shu has been visiting in order to acquire Uranium usually used for a yellow glaze tells him that he rarely needs to use colour anymore because the vast majority of his output is plain white funerary urns for boys who come back as bones. Some of the scientists feel guilty that they are living in relative safety while other young men their age are fighting and dying on the front line, while others wonder if working on the bomb, which will almost certainly not be finished in time, is the best way to help them. They also wonder if scientists should be involved in the creation of weapons at all, but their mentor Arakatsu (Jun Kunimura) justifies the project under the rationale that they aren’t just trying to make a bomb but to unlock the power of the atom and harness its intrinsic energy to take humanity into a brave new world. 

As it turns out, Arakatsu may not have expected the project to succeed but was in a sense using it in order to protect his students by ensuring they would be exempt from the draft. Another senior researcher meanwhile points out the Americans are also working on a bomb, and if they don’t finish it first the Russians will. Arakatsu claims this war, like most, is about energy but nuclear energy may be infinite and therefore its discovery has the potential to end human conflict forevermore. Still, it’s difficult for Shu reconcile himself to the reality of what he was working on seeing the devastation inflicted on Hiroshima. The scientists are plunged into a deep sense of guilt and despair that they failed to prevent this tragedy, but also perhaps relief in knowing they were not responsible for inflicting it on the city of San Francisco as had been the plan. 

Arakatsu claims he wants to change the world through science, a sense of purpose that appeals to Shu even while he remains firmly in the present moment. His childhood friend, Setsu (Kasumi Arimura), however is looking far ahead already thinking about what to do when the war is over. Seeing through the wartime propaganda disturbed by the answers the high school girls co-opted to fill-in at her factory give when asked about their dreams that all they want is to marry as soon as possible and raise children to serve the nation, she aims to educate. Shu’s brother Hiroyuki (Haruma Miura), meanwhile, is a conflicted soldier filled with guilt for having survived so long crying out that he can’t be the only one not to die. The theory that nothing is ever created or destroyed becomes an odd kind of justification, yet Shu is also forced to admit that destruction can be “beautiful” while claiming that scientific progress is a body already in motion which cannot be stopped. “The nature of science transcends humanity” Shu is told by an accented voice speaking in English, insisting that the bomb is merely another stop on the inevitable march of progress in the great chain reaction of history. Kurosaki’s melancholy drama preserves both the beauty and wonder of scientific discovery as well as its terrible ferocity but offers few answers as to the extent of its responsibilities. 


Gift of Fire screens in Chicago on Sept. 16 as part of the 13th season of Asian Pop-Up Cinema before opening at cinemas across the US on Nov. 12 courtesy of Eleven Arts.

US trailer (English subtitles)