Love Nonetheless (愛なのに, Hideo Jojo, 2022)

“Don’t deny love!” the fantastically awkward yet empathetic hero of Hideo Jojo’s Love Nonetheless (愛なのに, Ai Nanoni) eventually exclaims when confronted by the parents of a high school girl whose crush on him he’d tried to diffuse sensitively while growing to appreciate her friendship. Scripted by the ever prolific Rikiya Imaizumi who has made something of a name for himself examining the complicated romantic lives of young people in the contemporary society, Jojo’s prickly dramedy like his other film this year To Be Killed by a High School Girl deals with some quite uncomfortable ideas but does so with as much sensitivity as it can muster. 

The lovelorn hero, Koji (Koji Seto), for example is always trying to rationalise the circumstances around him considering his own actions and their implications carefully. When he catches a high school girl, Misaki (Yuumi Kawai), stealing a book from the secondhand bookshop where he works he chases her but she, surprisingly, stops running when she notices him struggling and buys him a bottle of water from a vending machine before eventually confessing that she stole the book because she saw him reading it. Not only does she announce she’s in love with him, she immediately proposes marriage. 30-year-old Koji is shocked and alarmed. He tries to turn her down but she doesn’t listen, continuing to frequent the store bringing him letters reiterating her marriage proposal which he never answers. 

Meanwhile, he’s hung up on an unrequited crush, Ikka (Honami Sato), who he’s just learned is about to be married. Even he describes himself as a “creep” looking back over of a cringeworthy series of tweets he’d sent her which she never replied to, while she explains to her fiancé Ryosuke (Ayumu Nakajima) why she’s not planning on inviting him to the wedding despite inviting everyone else from her old part-time job. Unbeknownst to her, Ryosuke has secretly been carrying on with their wedding planner, Miki (Yuka Kouri), who is content with the no strings nature of their relationship and ironically hates the “bizarre ritual” she has been hired to organise having developed a rather cynical view of marriage due to the nature of her work. The couple seem to be in a fairly liminal state, their apartment still full of boxes while they bicker about the financial strain of a ceremony which as Miki points out is not even about them but solely for their families and any children they may later have. 

All these people supposedly love each other, so why is it all so difficult and destructive? Always introspective, Koji realises he may have alienated Ikka with his inappropriate behaviour and has reflected on his actions but the fact remains that most of the other men are not so emotionally aware. Misaki is also courted by an awkward classmate who greets her with roses but thrashes them to the ground in frustration when she turns him down and later physically attacks Koji even when he points out that hitting his love rival won’t change the fact that Misaki’s not interested in him. Ikka meanwhile is approached by a sleazy salaryman when drinking alone in an izakaya whose response when she tells him she’s married is “so what, I am too”. Ryosuke appears to be having an affair for no other reason than he could while simultaneously confused by Miki’s lack of emotional investment in their relationship only for her to patiently explain to him that his problem is he’s bad in bed something which a lover would be unable to tell him directly. Ikka begins to realise this for herself while turning to Koji to get back at Ryosuke on learning of the affair as if believing that a level playing field of emotional betrayal would somehow allow them to start their married life on an equal footing. 

The secondary question arises of how important sex is in a romantic partnership, Ikka wondering if Ryosuke really is just a bad lover or if their unsatisfying sex life is a sign that they are simply incompatible and should separate given that she finds much more fulfilment with Koji whom she chose because of her lack of romantic interest in him. Koji meanwhile, fully aware of the realities of the situation, points out that it’s unfair and irresponsible of Ikka to exploit his feelings for her while cautioning her that her behaviour is heading towards the self-destructive and that she should reconsider marrying Ryosuke not because he thinks she should date him but simply because this complicated situation is obviously unhealthy for everyone. You could of course say the same about his awkward, perhaps uncomfortable relationship with the teenage Misaki which might in a sense be romantic, both slightly inappropriate and essentially innocent even if his eventual concession that he might love her one day is a step too far in failing to fully diffuse her one-sided crush in part because he’s become dependent on the attention he receives from her in the letters he doesn’t answer. 

Then again, the most troubling aspect of Ryosuke’s affair is not the extra-marital sex but the manipulative lie he constructed to excuse it designed to arouse Ikka’s sympathy in tying it back to her awkward experience with one-sided workplace crushes. Aware of the affair but not the lie, the choice she thinks she’s making is if her relationship with Ryosuke is strong enough to accept sacrificing sexual fulfilment or if perhaps this is as good as it gets when it comes to marital compromise. Koji’s solution seems to be that you should let love rest where it lands, denying it is pointless even if not reciprocated while sensitivity with other people’s feelings is essential for a happy, healthy society. Warmhearted and empathetic in its forgiveness of its messy protagonists’ many flaws, Jojo’s steamy drama never pretends love is easy but suggests it comes in many forms and in the end maybe follow your heart is as good advice as you’re ever going to get.


Love Nonetheless screened as part of this year’s Udine Far East Film Festival.

Original trailer (English subtitles)

Last of the Wolves (孤狼の血 LEVEL2, Kazuya Shiraishi, 2021)

“The Showa era’s over. We don’t use guns now, business is our battlefield.” a recently released foot soldier is told, finding himself in a whole new world emerging from a not so distant past of turf wars and street scuffles into a late bubble wonderland of besuited corporatised gangsters. Set in 1988, Kazuya Shiraishi’s Blood of Wolves had been about the twilight of post-war gangsterdom forever associated with an era that was literally about to pass. Set three years later in the twilight of the bubble economy and an already established Heisei, Last of the Wolves (孤狼の血 LEVEL2, Koro no chi: Level 2) finds no longer rookie cop Hioka (Tori Matsuzaka) taking on the mantle of his late mentor Ogami, attempting to broker peace by getting uncomfortably close to yakuza. 

At the end of the previous film, Hioka had managed to engineer a truce between rival gangs Odani (with whom he is affiliated), and Irako through pushing top Odani guy Ichinose to take out boss Irako. Three years later, the peace has held and in any case Heisei yakuza no longer take violence to the streets. The release of crazed Irako foot soldier Uebayashi (Ryohei Suzuki), however, threatens to destabilise the local balance of power. Despite mournfully declaring that he doesn’t intend to wind up back in prison, Uebayashi’s first call on release is to the sister of one of his guards whom he rapes and kills in quite gruesome fashion. Hioka is put on the case and partnered with a genial veteran, Seshima (Yoshiko Miyazaki), weirdly excited about investigating a murder at this late stage of his career, but quickly realises that Uebayashi’s recklessness is primed to destroy everything he’s built. 

Having started out a straightlaced rookie, Hioka has fully incorporated the Ogami persona dressing in sharp suits and sunshades, driving a sports car, and hanging out with the Odani guys, while also using his girlfriend’s little brother Chinta (Nijiro Murakami) as a mole in rival gangs. As a cynical reporter points out, however, Ogami was essentially “undercover” in that he understood hobnobbing with yakuza was part of his job and something he did solely to keep civilians safe by preventing another street war. Hioka has started to lose his way, enjoying himself a little too much and already way out of his depth as the fragile peace he’d brokered by less than ethical means begins to crumble beneath his feet. 

Having been in prison, Uebayashi is unaware of the various ways in which the world has changed seeking to return to old school rules of gangsterdom, ironically lecturing his superiors on the absence of jingi (honour and humanity) in their new corporate existence. He’s a monster and a sadist, but his violence is also a result of the horrific abuse he suffered as a child which led to an equally heinous act of revenge while as a member of the ethnic Korean Zainichi community, like Chinta and his siblings, he continually faces discrimination and social oppression. His first act on release is of revenge against the guards who relentlessly tortured him in prison, the murdered woman’s brother confessing that they wrote him up as a model prisoner in the hope he’d be released early so they wouldn’t have to deal with him anymore.  

Yet what Hioka and Uebayashi have in common is that they’re both pawns in a game they were unaware was being played. As it turns out the police corruption Hioka discovered during the previous film did not go away, and in certain senses they liked things the way they were before. Hioka’s truce is very bad for business for a certain subset at least. They might be minded to let a dangerous killer go loose if it disrupts Hioka’s attempt to suppress the criminal underworld to manageable levels. Mimicking the classic jitsuroku, Shiraishi throws in occasional voiceover from an anonymous narrator along with freeze frame and montage while skewing still darker in the levels of depravity among these desperate men fighting over the scraps of a world already in terminal decline even as the bubble seems fit to burst. Shiraishi ends on a note of change with the institution of the organised crime laws which have contributed to the ongoing decline of the yakuza, a relic of the Showa era unfit and unwelcome in the modern society, but also discovers that for good or ill there may yet be wolves in Japan.


Last of the Wolves screened as part of this year’s New York Asian Film Festival.

Teaser trailer (English subtitles)

All the Things We Never Said (生きちゃった, Yuya Ishii, 2020)

The broken dreams of youth and middle-aged malaise push a trio of former high school friends towards existential crisis in Yuya Ishii’s melancholy exploration of emotional distance,  All the Things We Never Said (生きちゃった, Ikichatta). Commissioned as part of the B2B A Love Supreme project created by the Hong Kong International Film Festival Society and China’s Heaven Pictures which tasked six Asian filmmakers with the task of proving that high quality films can still be made on a micro-budget, Ishii’s latest finds him in the same register as his poetic take on urban angst The Tokyo Night Sky is Always the Densest Shade of Blue as his frustrated protagonists each pay a heavy price for the seeming inability to communicate their true feelings honestly. 

Opening with an idyllic scene of three high school friends enjoying a breezy summer day, Ishii cuts abruptly to the present, interrupting the wistful love song playing in the background mid-flow. Now in his 30s, Atsuhisa (Taiga Nakano) is a married father whose only dream is to be able to afford a nice house with a garden for his wife and daughter, maybe even get a dog. To this end, he’s been taking lessons in English and Mandarin with high school friend Takeda (Ryuya Wakaba) with the intention of one day starting their own business though they once dreamed of becoming musicians. All of that comes to nothing, however, when he begins to feel dizzy at work one day and returns home early to find his wife, Natsumi (Yuko Oshima), with another man. Unable to offer any real sound of protest, he accidentally smashes a panel on the glass door to their bedroom, apologises for interrupting, and leaves in a daze to pick up his young daughter Suzu (Yuno Ota) from school. 

Natsumi’s infidelity evidently comes as a complete surprise, though it seems obvious that their marriage is far from perfect. “My life is just stress and getting fatter” Natsumi openly complains to Takeda, her sense of inertia and impossibility seemingly more than simple dissatisfaction with her life as an ordinary housewife. For his part, Atsuhisa is as emotionally distant as they come, a near silent zombie dead eyed and permanently absent from himself. He is continually preoccupied by the absence of his late grandfather, now nothing more than an increasingly anonymous photograph on an altar as if he never existed at all. Atsuhisa asks himself if his grandfather really lived as a way of avoiding the same question in himself as he sleepwalks through a conventional life that proves infinitely unsatisfying while he chases elusive dreams of comfort and security. 

Natsumi’s revelation that she’s been completely miserable for the entirety of their married life because she’s never felt loved likewise shocks him, but if her intent was to provoke emotional honesty in her husband it fails. She pushes him to fight, to offer some kind of resistance but he simply accepts her decision to end the marriage. The sense of impotence is palpable, Natsumi turning off the TV set because she can hardly do anything about the reactors at Fukushima Daiichi so what’s the point in knowing about them. “How else can we live?” someone else later adds, other than to simply decide not to think about the things you cannot change. Atsuhisa tells himself that it’s meaningless anyway, it will all “fade away” in the end so there’s no sense in trying to resist. 

Yet he continues to struggle, wondering in a sense if he could perhaps claim agency over his life if only he could learn to communicate his true feelings honestly. He asks himself if it’s because he’s Japanese that he can’t, if his culture actively prevents him from speaking freely when it comes to desire. Of course, everyone else is Japanese too which perhaps makes his question moot, but those around him do indeed seem to suffer from the same sense of wilful repression, even Natsumi tragically withholding her real feelings and ultimately working against herself out of a mistaken sense of guilt. “You don’t love me, that’s why you can be honest” an ex of Atsuhisa’s points out during an emotional farewell, cutting to the quick in suggesting that his problem is that he fears the risks of emotional intimacy. 

Two boys and one girl is always going to be a story tinged with a degree of sadness no matter how it turns out, but on that idyllic summer day no one could ever have thought it would end like this. Takeda, manfully keeping his true desires under wraps perhaps in love with Natsumi himself but too diffident to have said anything or overly mindful of his friends’ feelings, does his best to be the emotional buffer supporting both halves of a couple rapidly spiralling away from themselves but is ultimately unable to prevent them from making decisions they may regret even as they are are made. “My love wasn’t good enough” Atsuhisa laments in his inability to make it felt, finding proof of life only in absence through the memory of those shining summer days. A little rough and ready around the edges but filled with a raw poetry Ishii’s melancholy drama puts its hero through the emotional wringer but in the end perhaps sets him free to speak his heart even if others are too ashamed to look.


All the Things We Never Said streamed as part of this year’s San Diego Asian Film Festival.

Original trailer (no subtitles)

Sakura Guardian in the North (北の桜守, Yojiro Takita, 2018)

Sakura Guardian in the North posterStill a major marquee star and one of the few golden age actresses regularly playing leading roles in box office hits, Sayuri Yoshinaga has for one reason or another become somewhat synonymous with a brand of quietly patriotic tales of wartime endurance and maternal suffering. Sakura Guardian in the North (北の桜守, Kita no Sakuramori), apparently the conclusion of a loose trilogy of “Northern” films which began with Year One in the North in 2005 and led on to Junji Sakamoto’s A Chorus of Angels in 2012, sees her once again engage with post-war trauma as a mother eventually driven out of her mind by the inability to come to terms with the weight of tragedy.

The tale begins on Sakhalin in spring 1945. Despite the intense cold of the frozen North, Tetsu (Sayuri Yoshinaga) – mother to two young sons, Seitaro and Shujiro, has carefully nurtured cherry trees grown from seeds brought from the mainland ensuring that they blossom even here. The family’s happiness will however be short lived. Dad Tokujiro (Hiroshi Abe) is sent off to the war while Tetsu and the children are eventually forced to evacuate to escape the Russian invasion, planning to wait for Tokujiro in Abashiri on the north coast of Hokkaido.

Flashing forward to 1971, we find ourselves in Tokyo with Shujiro (Masato Sakai), now a grown man married to the Japanese-American daughter of an LA hot dog entrepreneur, Mari (Ryoko Shinohara). Having made something of himself in the New World, Shujiro has returned to Japan to open the first branch of his father-in-law’s convenience stores. His plans are disrupted when he gets an unexpected call from Abashiri about his mother, whom he hasn’t seen since she told him to leave her behind and seek his fortune 15 years previously. The public housing shanty town where Tetsu ran her restaurant is being torn down but she’s showing no signs of leaving, and not only that, she’s begun to act strangely.

This Shujiro finds out for himself by visiting her and witnessing Tetsu talk to her own reflection as if it were a long lost friend. His sudden decision to bring his mother back with him to Tokyo without talking to his wife, who has never even met her mother-in-law, places a strain on his marriage on top of the already heavy burden of the store but Shujiro is determined to make it work. Tetsu, however, finds its hard to adjust. Used to living in small country towns where everyone knows everyone, she doesn’t realise you can’t just walk off from stores shouting “put it on my tab”, and annoys the neighbours by starting a smoky fire outside trying to cook rice the old fashioned way. With Shujiro busy with work, the burden falls disproportionately on the patient but exasperated Mari who is forced to apologise when Tetsu walks off in someone else’s shoes after trying on city-style outfits at a department store, and looks on in horror as her new mother-in-law starts an intense conversation with a cherry blossom tree.

Tetsu’s down home charm does, however, begin to give Shujiro some business inspiration as he ponders why his top American hotdogs aren’t selling now the novelty’s worn off. As his staff tell him, maybe they need to think a little more “Japanese” – more fresh veggies and innovative toppings, less ketchup and mustard. Shujiro has another idea – the original Japanese “convenience” food, onigiri, made with rice cooked in a pot and roughly shaped by a loving mother’s hands.

Rice, however, despite its ubiquity in the comparatively comfortable world of 1971 brings with it traumatic memories. Starving after the war, white rice was something Shujiro and Tetsu could only dream of, getting their first taste of it in many moons only when cooked to place on a funeral altar. Meanwhile, rice was also the only reason they survived after running into a slightly dodgy young man who gave them “jobs” helping him to smuggle it for sale on the black market. Shinji (Koichi Sato) helped them in other ways too, eventually putting up the money for Tetsu’s homely eatery, and would have married her if she were not on the one hand loyal to the memory of her absent husband, and so troubled by survivor’s guilt as to believe that she is “a person who does not deserve happiness”.

To punish herself for perceived failures, Tetsu has lived a life of austerity – working hard in the restaurant, dressing in simple ragged clothes, and eating only enough not to starve. She forced Shujiro away to make something of himself, but never spent any of the money he sent home to her nor answered any of his letters. Shujiro, by contrast, has swung the opposite way – determined to live a life of luxury and becoming unforgiving with it. Mari sees an ugly side to him when he’s visited by one of the boys who used to bully him (Ken Yasuda) for being a refugee and a black-marketeer back in Abashiri now fallen on hard times. Superficially polite, Shujiro humiliates him with undignified zeal while wilfully planning to exploit his workforce, quickly silencing an employee who tries to point out violations to the labour code.

Yet like Tetsu, who is somewhat unstuck in time, he begins to find a softer side of himself as the pair of them journey back into the past and revisit the sites of their shared traumas. Yojiro Takita stages Tetsu’s internal confusion somewhat incongruously as an avant-garde stage play offering occasional background info on the exodus from Sakhalin, an experience Shujiro is seemingly shut out from as he tries to reconnect with his mother only to lose her again but rediscovering a better version of himself before he was hardened by the burden of his memories and the hardships of the post-war era. Tetsu keeps the cherry blossoms in bloom in the North, cultivating beauty as a means to connect with her loss, and eventually finding a kind of resolution in the returned ghosts of her past given life once again by the strength of her devotion.


Singapore trailer (English / Simplified Chinese subtitles)

A Crimson Star (真っ赤な星, Aya Igashi, 2018)

A Crimson Star posterFalling in love is, perhaps, like standing too close to the sun and for the young heroine of Aya Igashi’s debut feature A Crimson Star (真っ赤な星, Makkana Hoshi), it means nothing unless it burns. Set in the otherwise serene environment of a rural Japanese summer, full of blue skies and green fields bursting with life, A Crimson Star is the story of two ostensibly very different women in very different places who nevertheless develop an essential and inescapable bond in their shared sense of loneliness and isolation, but their relationship is also a problematic one in which the familial and the romantic have become inextricably linked.

14-year-old Yo (Miku Komatsu), undergoing a lengthy period of hospitalisation for an undisclosed illness, develops an intense fondness for her kindly nurse, Yayoi (Yuki Sakurai). On her discharge, however, Yo is stunned to learn that Yayoi has abruptly resigned and all but disappeared. Meanwhile, Yo’s family life continues to deteriorate. Her disinterested mother has got a new boyfriend who is often drunk and violent. In order to escape him, Yo takes a trip to the corner shop and makes a surprising discovery in a street of parked cars which turns out to be (as yet unknown to the the naive Yo) the secluded byroad used for secret assignations seeing as this is such a one horse little town that there isn’t even a love hotel. Yayoi has become an embittered sex worker and her lonely degradation breaks Yo’s heart. When her mother’s boyfriend eventually begins molesting her, it’s to Yayoi that Yo turns looking for care and support from a woman who had nursed her but is no longer a nurse.

The “crimson star” of the title most obviously refers to the wings of the paraglider gazed at so often by the earthbound Yo, but it is also echoed in the tiny scars and wounds which define the relationship between the two women. In the first scene of the film, the hospitalised Yo has a prominent bruise on her foot apparently caused by Yayoi nicking a vein when taking a blood sample. Even so, Yo leans in tell her that she is her favourite nurse – words which bring tears to Yayoi’s eyes and perhaps precipitate her decision to leave the hospital. For Yo, who is emotionally neglected by her mother and has never known true care and affection, the bruise becomes an odd kind of proof of love which she has come to associate with pain. Later, Yo spots an odd mark on Yayoi’s neck – she is of course too young to know what it is. Yayoi shows her, literally, by biting her slightly below the shoulder and creating another kind of “crimson star”.

Yo’s early attraction to the 27-year-old Yayoi has a distinctly maternal quality in which she looks for the same kind of compassionate care she experienced in hospital and which her mother refuses to give her. There is also, however, a nascent sexual attraction which provokes intense jealousy as Yo attempts to get closer to Yayoi but finds herself unable to achieve the kind of all encompassing love she is seeking. Given Yo’s extreme youth, the relationship is in many ways extremely inappropriate and infinitely confused, a combination of familial, platonic, and romantic longings which appear to be unbreakable but remain unresolved. Yo, almost becoming the thing she wants to find, begins to take care of the depressed, broken Yayoi – tidying the apartment, folding washing, and repairing external signs of damage, while Yayoi becomes care taker rather than care giver presenting her with an opportunity to reexamine her self-destructive tendencies including a dead end relationship with married paraglider Kengo (Katsuya Maiguma).

Kengo becomes a particular point of contention for Yo, not just for reasons of jealousy but because he causes Yayoi to suffer. Early on she spots him on his bike with his small daughter, every inch the doting dad which is, of course, something she never had. Kengo is also a symbol of familial betrayal as he undermines his seemingly happy family by continuing to string Yayoi along on what is, ironically enough, a no strings basis. Family has betrayed both women who find themselves adrift and alone with no clear anchor except perhaps each other.

Yet what Yo wants is to escape – to soar in the quiet skies high above all, free of earthly constraints like the paraglider she so often sees, but paragliders are crafts built for two and Yo wants to go with Yayoi, strapped together enveloped in a private world into which nothing else may enter. The “crimson star” then becomes the unattainable feeling of closeness and total connection that continues to elude her, furthering her view that love is pain and the pain she feels must be love. Backed by a crimson sky, the future is both hopeful and filled with light, but perhaps also tethered and marked by a melancholy resignation. Beautifully composed, Igarashi’s debut is a raw, often uncomfortable examination of an elemental bond forged between two lonely, damaged women each seeking impossible connection as an escape from a loveless existence.


A Crimson Star made its World Premiere at the 2018 Raindance Film Festival.

Original trailer (English subtitles)

Love and Other Cults (獣道, Eiji Uchida, 2017)

love and other cultsEiji Uchida’s career has been marked by the stories of self defined outsiders trying to decide if they want to move towards or further away from the centre, but in his latest film Love and Other Cults ( 獣道, Kemonomichi), he seems content to let them linger on the margins. The title, neatly suggesting that perhaps love itself is little more than a ritualised set of devotional acts, sets us up for a strange odyssey through teenage identity shifting but where it sends us is a little more obscure as a still young man revisits his youthful romance only to find it as wandering and ill-defined as many a first love story and like many such tales, one ultimately belonging to someone else.

Our lovelorn hero and narrator, Ryota (Kenta Suga), observes the heroine from afar as he tells us her story, which is also his story in a sense. Ai (Sairi Itoh), a neglected child, drifts aimlessly in an uncaring world forever seeking a place to belong but finding no safe space to drop anchor. Ai’s mother, as drifting and aimless as her daughter, attempts to find salvation through religion but her quest for self-fulfilment drags her from one spiritual fad to the next all the while pulling little Ai along with her. The pair finally end up in a cult commune where Ai is a favourite of the leader – a Westerner called Lavi (Matthew Chozick) who preaches free love but only for himself.

Eventually, the cult is raided by the police, Lavi flees, and Ai is “rescued” but the next stage in her odyssey is no less disruptive than the last as she finds herself adrift in the mainstream world. Dropped into a regular high school, Ai tries to play the regular high school girl but can’t shake the cult member inside her. Semi-adopted by an ordinary family, her life gains some normalcy but it is short-lived and before long Ai finds herself in another sort of commune altogether before ending up in teenage prostitution followed by the porn industry.

If girls like Ai end up in AV, boys like Ryota end up in gangs. So it is that Ryota gets mixed up with two equally lost wannabe gangsters in Kenta (Antony) – an outsider by virtue of non-Japanese heritage, and the blond-headed Yuji (Kaito Yoshimura) who’s watched too many movies. Kenta is the de facto head of a little band of petty delinquent kids but he’s getting bored with gangster stuff and yearns for something more real while Yuji trails around after the lollipop sucking local chieftain (Denden). Ryota looks on casually without striking out in either direction, pining for Ai but either unwilling or unable to install himself as a permanent part of her reality.

As Ryota puts it, they’re all just looking for a place to belong. They don’t care where or what that place is, but what they long for is a sense of belonging born of owning their own identities. What may be a typical teenage problem of figuring oneself out takes on a larger dimension given the general instability of the world these youngsters find themselves in. Another in the long line of recent films losing faith with the family, Love and Other Cults finds no room for a familial solution to social woes. Ai has been so definitively let down that her very idea of family is so hopelessly warped as to permanently remove the possibility from her future.

Neglected in favour of her mother’s ongoing and inconclusive search for meaning, Ai’s major attachment is to unclear spirituality but even this becomes horribly misused thanks to her involvement with a shady cult. Having become the favourite of cult leader Lavi, Ai is used to trading herself for affection and security and so when she finds herself semi-adopted by the kindly family of a friend she attempts to use these same familial mechanisms to secure her position only to end up ruining the whole thing. Re-encountering Lavi (now an AV producer) again as an adult, Ai is still unable to see the way that she has been used and misused, quickly resuming her childhood role but without the spiritual pretence.

Ryota and Ai meander aimlessly outside of each other’s orbit, neither finding the place they feel they ought to be. Tellingly, the only real story which obeys narrative rules is that of depressed thug, Kenta, who finds an unlikely soul mate in a chance encounter with a photography loving deep-sea diver, Reika (Hanae Kan). Kenta and Reika are kindred spirits whose place to belong presents itself randomly and without warning yet is found all the same. There is no cult in this love, only mutual salvation. Ai and Ryota, however, are each trapped in their respective quests for fulfilment, disconnected, visible to each other only in brief, fragmented episodes and set to drift eternally yet always in search of a place to call home.


Love and Other Cults was screened as part of the 19th Udine Far East Film Festival.

Original trailer (English subtitles)