Company Retreat (ある職場, Atsushi Funahashi, 2020)

“You can’t be suspicious of your team” an older woman insists, trying to defuse a rapidly devolving situation of mistrust among co-workers away on a “Company Retreat” ostensibly to cheer up a female employee who has recently become the centre of an online storm after her name and photos were leaked in relation to a report of sexual harassment at a prominent hotel chain. Inspired by true events, director Atsushi Funahashi originally planned to make a documentary exploring the fallout from an accusation of sexual harassment but discovered that few were willing to put themselves on camera opting instead to craft a docudrama in part improvised by his cast of actors. 

Shot documentary style and in black and white save one colour flashback, the action is split between two distinct company getaways four months apart taking place at a coastal town the first in the winter and the second in spring. Saki (Saki Hirai), a young female employee, made an accusation of sexual harassment against her male middle-aged boss, Kumanaka (Makoto Hada), and has been receiving constant online abuse after being outed by an unknown figure for unknown reasons. While her colleagues are largely supportive, they may also be harbouring an unspoken resentment that her decision to speak up has indirectly endangered their jobs as the company continues to suffer a loss of reputation with the public. When another of the employees reveals that he’s tracked the IP address of a persistent troll and discovered they’ve been posting from nearby it invites the suspicion that one of her friends is behind the online hate campaign possibly at the behest of the hotel chain keen to blacken her name and reputation in order to safeguard their own. 

The sexual harassment accusation exposes the gulf between what people say and what they really feel with some of the other employees eventually losing their cool and taking their frustrations out on Saki, partly for spoiling the holiday with her gloominess but also for her tendency to isolate herself from the group now viewing each of them as a potential enemy. She later accuses Noda (Yoshio Taguchi), a placid company man she feels may have chosen to sacrifice her in order to save the company’s reputation and with it his own job. Noda is upset to realise Saki sees him as a heartless corporate drone but later claims to have forgiven her. At the second retreat, however, he begins to voice quite a different opinion, exposing a deeply held set of patriarchal values in playing devil’s advocate wondering if it wasn’t all a misunderstanding and the boss, who has been demoted and transferred but not fired, has had his life “ruined” over something that wasn’t “that big of a deal”. He says this, in part, because his new girlfriend who also happens to be an employee has advised him that he is inappropriately touchy feely in the office and has little understanding of boundaries or personal space. Noda doesn’t see a distinction in the way he interacts with men and women and feels that’s just how he is, laying the blame on the other party if they ever felt uncomfortable while tacitly sympathising with another man who he believes may have had no “bad intentions” and is simply the victim of a “misunderstanding”. 

Perhaps paradoxically, he also blames Saki for her complicity that she may have smiled or laughed and said it was fine on previous occasions giving the boss the green light to think there was nothing inappropriate in his behaviour. In this she finds herself agreeing, that is perhaps the way it works in the workplace. Another older woman in a senior position advises her to transfer to another department, eventually explaining she thinks that might be easier seeing as the bosses are all men unlikely to be sympathetic. Ushihara (Mikoto Yoshikawa) is not unsympathetic herself, but is also willingly complicit, among the contingent of older career women who feel that sexual harassment is something you just have to put up with while simultaneously claiming that nothing will change until there are more women in a position of power. Attempting to take her side, Kinoshita (Megumi Ito), a divorced senior employee, tells Saki to do the “right thing” and refuse the transfer but is shot down by Noda who exposes even more misogyny when he tells her that her “emotional” and “righteous” tone is “unattractive”, insisting that she needs to “win the respect of men” in order for her arguments have weight. 

For some, however, and particularly the younger men this sort of hypocrisy becomes too much to bear. A company is supposed to be a family, but no one trusts anyone. Several employees from the original retreat resign after a decision is taken to try ringing the troll to prove they aren’t among the group unable to bear the sense of mistrust and suspicion from their close friends and teammates. Another employee, Taku (Taku Tsujii), brings his boyfriend to the first retreat though closeted at work losing confidence to come out to his colleagues in case they reject him and worst case scenario it costs him his job. Eventually he makes the decision to explain, realising he’s placed his boyfriend in a difficult position, and is relieved to discover he is immediately accepted by all, but continues to sympathise with Saki knowing how devastating it can be to be outed while also irritated by her tendency to reject them while they are only trying to help her. Meanwhile, another awkward young man struggles to confess his crush on the increasingly paranoid young woman, overly invested in a patriarchal ideal of masculinity that women are in need of male protectors mistakenly believing that Saki will be impressed by his attempt to safeguard her which ironically becomes a secondary act of harassment even as he, like Kinoshita, attempts to convince her to rebel against her complicity with a relentlessly rigged, conformist and conservative social order. 

The conclusion that she comes to, however, is that she has to “survive in this world” rather than striving for a better one. She has been unfairly demonised as if the real problem is her speaking up rather than her boss’ inappropriate behaviour and is understandably weary with fighting a battle she doesn’t understand, willing to accept a level of complicity in order to end the hate and suspicion. Kinoshita fears she will never see a “safe workplace” while others relentlessly “try to make society work for them” rather than for everyone. A bleak picture of contemporary society ruled by oppressive social pressure and aggressively patriarchal norms, Funahashi’s empathetic drama offers no real answers but advocates for the right to say no in a society where dissent is an untouchable taboo. 


Company Retreat (ある職場, Aru Shokuba) streamed as part of this year’s Nippon Connection.

Melancholic (メランコリック, Seiji Tanaka, 2018)

Melancholic posterJust because you’re smart and graduated from a top university, does that necessarily mean you have to put on the salaryman straitjacket in order to become “a success”? The dejected hero of Seiji Tanaka’s Melancholic (メランコリック) isn’t quite so sure, but then he’s always been the type to amble through life going wherever the wind blows him. The time is about to come, however, when decisions must be made and priorities decided lest someone else decide them for you.

Kazuhiko (Yoji Minagawa) graduated from Tokyo University but he’s never been in full time employment and has no definite career plans. Still living at home with his parents, he floats between part-time jobs with little sense of forward motion while his mum and dad are content to let him find his way, if a little exasperated. On a rare visit to a public bathhouse he ends up running into an old high school classmate, Yuri (Mebuki Yoshida), who half-jokingly advises he apply for the open job at the baths seeing as it’s bound to be less stressful than your average salaryman gig. Smitten but too awkward to do much about it, Kazuhiko applies for the job and consents to go to a school reunion as a means of seeing Yuri again. Much to his surprise, however, the bathhouse has a second life as a yakuza kill room with on site body disposal facilities.

Asking questions about what goes on at the bathhouse after dark, Kazuhiko’s boss Azuma (Makoto Hada) tells him that it’s dangerous to know things you aren’t supposed to know, but Kazuhiko is not good with hints and his natural curiosity won’t it let it rest. After he finds out about the secret yakuza backroom deal, Kazuhiko has a “difficult” choice to make – elect to help out with the “night shift”, or die. Kazuhiko chooses to help out (he likes being helpful) and discovers that he actually doesn’t mind it all that much, especially considering the “bonus” package Azuma gave him for being a good boy.

The extra money made Kazuhiko feel as if he could grasp that swanky salaryman life without having to submit himself to the rat race. He uses the money to take Yuri to a fancy French restaurant where he’s flummoxed by the wine list and she’s uncomfortable, but still it goes well even if they both resolve to go somewhere more casual next time. Kazuhiko’s inferiority complex is only enflamed by the lingering presence of Tamura (Yuta Okubo), another old classmate made good, who is also interested in Yuri and is everything Kazuhiko feels himself not to be – handsome, successful, filthy rich, cultured, and confident.

Being allowed in on the after hours business made Kazuhiko feel as if he’d been promoted, that Azuma obviously trusted him and that there might be more overtime coming if he played his cards right. His confidence receives a further knock, however, when he realises that a punkish colleague who joined at the same time as him, Matsumoto (Yoshitomo Isozaki), is technically in a more senior position despite being a barely literate drop out with bleach blond hair. In way over his head, Kazuhiko still desperately wants to regain some of that status and approval he felt was his when the cleanup business was their little secret.

An awkward, naive, but sincere man, Kazuhiko marvels on realising how many yakuza seem to be “around” before Azuma and Matsumoto remind him that not everyone involved with crime is a bona fide yakuza. The bathhouse outfit is, more or less, run by freelancers but still at the mercy of mob boss Tanaka (Masanobu Yada) who has an iron hold over Azuma because of outstanding debts. Azuma would like to put a stop to the night shift, but can’t – or so he claims. As is later pointed out, for those getting on in years an unsatisfying status quo is often preferable to a turbulent new. Though Kazuhiko has no real objection to working the night shift as far as the clean up goes, he is not completely comfortable with its wider implications, often asking why it was someone had to die only for Matsumoto and Azuma to shrug and say it doesn’t matter. They had orders and carried them out, anything else is an irrelevance they don’t need to worry about.

Kazuhiko, however, does worry if in a fairly minor way until his gradual descent into the world of crime drags him into a vicious quagmire in which he must accept the seriousness of his situation along with its potential costs. Despite the original animosity and natural sense of distrust, what wins out is a sense of fellow feeling between unlikely allies Matsumoto and Kazuhiko who begin to see a way out of their mutual malaise through seizing their own futures and daring to pin their hopes on things they assumed unattainable, like love and friendship. Rather than chasing the salaryman dream, or climbing to the top of the yakuza tree, they pick an ordinary kind of “good enough” success in which moments of warmth and togetherness become the only things which give life meaning. A surreal ode to just muddling through and learning to be happy in the moment, Melancholic more than lives up to its name but despite all the darkness eventually finds real joy in the easy pleasures of mediocrity and mutual acceptance.


Melancholic was screened as part of the 2019 Udine Far East Film Festival. It will also be screened at the 2019 Nippon Connection Film Festival where director Seiji Tanaka and actor Yoshitomo Isozaki will be present for a Q&A.

Original trailer (English subtitles)