A Balance (由宇子の天秤, Yujiro Harumoto, 2020)

“What’s moral isn’t always what’s best” according to the morally compromised heroine at the centre of Yujiro Harumoto’s A Balance (由宇子の天秤, Yuko no Tenbin). To Yuko (Kumi Takiuchi), a balance is what a documentarian should strike, not taking one side or another but shining a light on hidden truths. The irony is that in seeking to expose one truth she accidentally stumbles on another uncomfortably close to home and although her job is to highlight injustice finds herself making the decision to do the opposite concluding that in this case, and perhaps many others, keeping quiet may actually be what’s best for victims, victimisers, and everyone in-between. 

As the film opens, Yuko is shooting a potentially manipulative interview with the grieving father of a young woman, Hiromi, who took her own life after becoming the subject of scandal and rumour when it was revealed she may have been involved in an inappropriate “relationship” with a teacher. The teacher, Mr. Yano, eventually took his own life too leaving behind him a note proclaiming his innocence and explaining that death is the manner he has chosen for his resistance. Yuko is sympathetic to Mr. Hasebe (Yuya Matsuura), but also perhaps verging on the unethical in the depth of the questions she asks him of his daughter’s death. Soon enough a conflict emerges between the nature of the documentary Yuko would like to make which is more contemplative than polemical, and the “routine piece on bullying” the TV studio think they’ve commissioned. Consequently, we see the suits redacting problematic lines in Yuko’s scripts in editorial meetings, misrepresenting Mr. Hasebe’s words in removing his criticism of mass media which he blames for hounding Mr. Yano to his death and thereby depriving him of answers. 

Yuko remains determined to provide “a balance” in interviewing Yano’s surviving family members including his mother Toshiko (Mitsuko Oka) and sister Shiho (Misa Wada), but discovers them tyrannised by the treatment they’ve received at the hands of the media and a vindictive society. Toshiko near collapses towards the end of the interview when asked if there was anything the family could have done to prevent this tragedy happening, inviting Yuko to visit her at home whereupon she discovers her living in near total darkness, afraid to go out lest she be recognised and explaining that she has few possessions in case she has to move again in a hurry because someone has exposed her address online. This little old lady is living in terror because of something her son was accused of which later caused him to take his own life and even that did not end the torment for his family. 

Meanwhile, in an ironic touch, Yuko discovers that a young woman, Mei (Yumi Kawai), attending the cram school owned by her father where she also teaches part-time has become pregnant and claims her father, Mr. Kinoshita (Ken Mitsuishi), is responsible having accepted sex in lieu of her overdue fees. Yuko does not want to disbelieve her and confronts her father, holding up her iPhone as a record, who admits that what Mei has said is true. Yuko tells herself she’s doing what’s best for Mei, bonding with her as two women who lost their mothers young (as did Hiromi), understanding that she may not want to go to the authorities because of the lingering stigma of being involved such a scandal. But she also can’t deny that her actions are self-interested in that she doesn’t want her doc pulled or her career messed up by her father’s transgression, something which gets harder to ignore when she discovers Mei’s pregnancy may be high risk and requires immediate medical treatment from a proper hospital to ensure her safety. 

The lines become ever more blurred, Yuko developing a quasi-maternal relationship with the motherless Mei which is in its way perfectly genuine even as she pays their overdue gas bill and worries about her potentially abusive father (Masahiro Umeda), but is nevertheless coloured by her desire both to cover up this harmful secret and to atone for her father’s wrongdoing. For his part, Mr. Kinoshita wants to confess but as Yuko points out he’d be doing it to unburden himself which in effect would merely shift the burden onto others including Mei but also Yuko herself, her documentary team, the other students at the cram school, and in effect everyone else they’ve ever known. 

Yet can Yuko be an effective arbiter of the truth especially when, as it turns out, neither she nor anyone else is being entirely honest? Her job is to present information in such a way that conclusions can be drawn, but she is herself making decisions in selecting the information she presents and the manner in which she presents it. She may resent the interference of the studio, but in reality they aren’t doing anything she hasn’t already done even if they are acting less out of a sense of integrity than commercial concern. “Whatever we put together is the truth” as her exasperated producer (Yota Kawase) finally insists. It’s in this same conflict that she begins to lose her sense of balance, trying to help those victimised by an unforgiving society while attempting to protect herself from unwelcome consequences of social scandal aided and abetted by the industry in which she herself works. “Ask them who is the real victimiser” Toshiko asks of Yuko taking aim at the mass media who have shamed her into a life of total darkness, but all Yuko can in the end do is turn her camera back on herself in contemplation of her shattered integrity.  


A Balance screens Aug. 12 as part of this year’s New York Asian Film Festival.

Original trailer (English subtitles)

Going the Distance (かぞくへ, Yujiro Harumoto, 2016)

going the distance posterThe “family drama” is often regarded as Japanese cinema’s representative genre, but in the consumerist atmosphere of the late 20th century the family itself became an increasingly discredited concept. Nevertheless, it remains true that discriminating against those who have no family is the last acceptable prejudice with orphans in particular unfairly viewed as somehow untrustworthy, rejected by mainstream society, and denied both work and the possibility of starting a family of their own. The hero of Yujiro Harumoto’s debut feature Going the Distance (かぞくへ, Kazoku e) thinks he has everything finally back on track with a steady job and an engagement to a middle-class secretary, but his good heart coupled with his precarious social status seem set to ensure his new start is a non-starter.

Raised in an orphanage in the Goto Islands, Asahi (Shinichiro Matsuura) now lives in Tokyo with this fiancée Kaori (Yumi Endo) for whom he has given up his boxing career to work as a trainer in a gym. Though Kaori, superficially at least, does not care that Asahi is a man with no family, she is a little preoccupied about how it’s going to look that his “family table”  at the reception will be largely unoccupied because he’s only planning on inviting his “brother” from the orphanage, Hiroto (Masahiro Umeda), and his wife.

Hiroto still lives in Goto and works as a fisherman. Hoping to help him out, Asahi sets him up with a man from his gym, Kita (Nobu Morimoto), who is opening a restaurant specialising in super fresh fish. The meeting goes extremely well and earns Hiroto a hefty contract that convinces him he needs to take out a loan to get a bigger boat. Unfortunately, however, Kita turns out to be a crook and Hiroto ends up well out of pocket, not only for the loan but for all the fish he never gets paid for.

Feeling intensely guilty and somewhat responsible, Asahi wants to do everything he can to put things right for Hiroto, even suggesting to Kaori that they postpone the wedding so that he can give part of the money they’ve saved to help take care of his debts. As predicted, Kaori is not happy about the idea, not least because she’s repeatedly explained to Asahi that she needs to get married as soon as possible because she wants her grandmother, who is suffering with dementia, to be able to attend the wedding while she’s still well enough to know what’s going on.

Unbeknownst to Asahi, one of the reasons Kaori is so keen on her grandmother attending is that her mother almost certainly won’t. Despite telling Asahi that her mother is lukewarm on the idea but coming round, the truth is that she won’t even talk to her, rudely rejecting the invitation and vowing that she’s no interest in seeing her daughter throw her life away on a man with no family and no prospects. In fact, Kaori’s mother crassly makes a point of sending her omiai photos for potential arranged marriages to more “suitable” men – ones from “good families” matching her own class background. Kaori wastes no time in calling her a “bigot”, accusing her of indulging in an outdated and offensive prejudice against the orphaned that regards them as untrustworthy because they have no history and are not anchored to anyone who might be held responsible for their actions.

Yet, despite her anger towards her mother Kaori is not quite free of those same prejudices, snapping back at Asahi that he wouldn’t understand what she’s going through because he had no parents of his own. She keeps the drama a secret from him to avoid having to admit that her family oppose the marriage solely because he is an orphan, partly wanting to spare his feelings and partly aware that Asahi is a good and noble man who might choose to absent himself rather than force her to choose between the man she loves and her family.

Meanwhile, Asahi does something similar in refusing to confide in Kaori about everything that’s going on with Hiroto, partly out of guilt and embarrassment, and partly out of shame in knowing that he is on some level betraying her by choosing to save Hiroto rather than prioritise their marriage. He wants to make things right, put them back to the way they were before, but he has an impossible choice – either reject his responsibility to his brother who is also a good and kind man and would not want to cause him trouble in his relationship, or neglect his new responsibilities to his soon-to-be-wife.

Unfortunately, the couple elect to go on deceiving one another, intending to protect but causing only more harm. It may be the case that they’ve rushed into marriage because of Kaori’s grandmother’s precarious health and Asahi’s hopes for a solid family foundation, but their previously happy relationship is eventually eroded by a gradual disillusionment born of refusing to rely on each other, continuing to fight separate battles rather than combine their efforts to fight them together. Faced with the realisation that he may have ruined his relationship by his own foolishness in trying to help a friend with a problem that was really none of his responsibility, Asahi begins to reject Hiroto, giving up on the idea of “family” in its entirety in mistaken resentment towards his brother for a series of decisions that were entirely his own. Nevertheless, what he discovers is that true family isn’t always about blood ties but about people who will always be there for you no matter what you do. Asahi wasn’t quite as alone as he thought he was, but only by admitting his mistakes, accepting his responsibilities, and finally allowing himself to confide in and rely on others can he truly begin to build a family anchored by something deeper than blood.


Going the Distance was screened as part of the 2019 Five Flavours Film Festival.

Original trailer (English subtitles)