April Fools (エイプリルフールズ, Junichi Ishikawa, 2015)

april-foolsIn this brand new, post truth world where spin rules all, it’s important to look on the bright side and recognise the enormous positive power of the lie. 2015’s April Fools (エイプリルフールズ) is suddenly seeming just as prophetic as the machinations of the weird old woman buried at its centre seeing as its central message is “who cares about the truth so long as everyone (pretends) to be happy in the end?”. A dangerous message to be sure though perhaps there is something to be said about forgiving those who’ve misled you after understanding their reasoning. Or, then again, maybe not.

Juggling seven stories April Fools is never as successful at weaving them into a coherent whole as other similarly structured efforts but begins with an intriguing Star Wars style scroll regarding alien sleeper agents who can apparently go home now because they’ve accomplished everything they came for. Changing track, pregnant snack addict Ayumi (Erika Toda) decides to ring the still unknowing father of her child after witnessing an improbable reunion on TV only he’s in bed with someone else and assumes her call is a weird practical joke. Overhearing that he’s just arrived at a restaurant for a lunch date, Ayumi takes matters into her own hands and marches over there, eventually taking the entire place hostage. Meanwhile an older couple are having a harmless holiday pretending to be royalty and a grizzled gangster has “kidnapped” a teenage girl only to give her a nice day out at the fun fair. Oh, and the hikkikomori from the beginning who’s fallen for the whole alien thing has made a total fool of himself at school by taking out his bully, kissing his crush goodbye and racing up to the roof to try and hitch a lift from the mothership.

Importing this weird European tradition to Japan, the creative team have only incorporated parts of it in that they don’t call time on jokes at noon and it’s less about practical shenanigans and elaborate set ups than it is about wholesale lying which is frustrated by this famous non-holiday apparently created in celebration of it. All of the protagonists are lying about something quite fundamental and usually to themselves more than anyone else but at least their April Fools adventures will help them to realise these basic inner truths.

Then again some of these revelations backfire, such as in the slightly misjudged minor segment concerning two college friends who are repeatedly kicked out of restaurants before they can get anything to eat. One decides to “prank” his friend with an April Fools confession of love, only to find that his friend really is gay and is in love with him. Awkward is not the word, but then an April Fools declaration of love is about the worst kind of cruel there is and is never funny anyway, nor is the casual homophobia involved in this entire skit but that’s another story.

In fact, most of the other people are aware they’re being lied to, but are going along with it for various reasons, some hoping that the liars will spontaneously reform and apologise or explain their actions. Ayumi, who is shy and isolated by nature, always knew her handsome doctor suitor was probably not all he seemed to be but is still disappointed to be proved right, only be perhaps be proved wrong again in the end. Convinced to take a chance on an unwise romance by an older colleague who explains to her that many miracles begin with lies, Ayumi is angry with herself as much as with her lying Casanova of a baby daddy, and also feels guilty about an incredibly sight deception of her own. As in many of the other stories, now that everyone has figured out the real, important, truths about themselves and about the situation, they can excuse all of the lying. Sensible or not? The choice is yours.

Despite coming from the team who created some very funny TV dramas including Legal High, the comedy of April Fools never quite hits its stride. Weak jokes backed up with slapstick humour giving way to sentimentality as the “good reasons” for the avoidance of truth are revealed don’t exactly whip up the farcical frenzy which the premiss implies. The point may very well be that we’re the April Fools going along with this, but even so its difficult to admire a film which pushes the “lying is good” mantra right to the end rather than neatly undercutting it. Still, there is enough zany humour to make April Fools not a complete waste of time, even if it doesn’t make as much of its original inspiration as might be hoped.


Original trailer (English subtitles)

Welcome to the Quiet Room (クワイエットルームにようこそ, Suzuki Matsuo, 2007)

welcome-to-the-quiet-roomEveryone has those little moments in life where you think “how did I get here?”, but thankfully most of them do not occur strapped to a table in an entirely white, windowless room. This is, indeed, where the heroine of Suzuki Matsuo’s adaptation of his own novel Welcome to the Quiet Room (クワイエットルームにようこそ, Quiet Room ni Yokoso) finds herself after a series of events she can’t remember but which seem to have involved pills and booze. A much needed wake up call, Asuka’s spell in the Quiet Room provides a long overdue opportunity to slow down and take a long hard look at herself but self knowledge can be a heavy burden.

After her initial confusion, Asuka (Yuki Uchida) is informed by the no nonsense matron, Eguchi (Ryo), that she’s been brought in after an overdose. Everyone seems to assume it’s a suicide attempt, though Asuka can’t remember a thing. Apparently her roommate found her and called and ambulance and has now signed the committal papers which means Asuka is stuck here until the doctors say she’s fit to leave. Aside from the obvious, this is bad news because Asuka has a series of tight deadlines she’s been busting her gut to meet and is worried about losing her contracts. Whatever she might feel about it, it seems as if Asuka will have to rely on the kindness of strangers a little longer before she can finally get back to her exciting freelance world.

Aspects of Asuka’s previous life are illuminated gradually through flashback accompanied by her post-committal deadpan voiceover. After a brief career as a model, Asuka got married, divorced, and then hooked up with her present roommate, Tetsuo (Kankuro Kudo), who hooked her up with a series of freelance writing gigs which have only contributed to her stress levels with their ever present deadlines. Prior to her hospitalisation, Asuka was a rather silly, perky woman with a self confessed preference for “idiots” when it came to her circle of friends. Slowly and in the absence of her regular methods of self medication, all of Asuka’s illusions about herself and the way she was living her life begin to crumble. Finally able to cut through the noise, Asuka is forced to come to terms with a significant amount of guilt relating to a decision taken during her marriage whilst also acknowledging the effect crippling depression has had on her way of life.

Whilst in the hospital, Asuka comes in to contact with the other residents who have various needs and demands, each exemplifying the problems plaguing modern women. Tellingly, the majority of the women on the ward are younger – some just teenagers or young adults, all suffering with various kinds of eating disorders. One such patient, Miki (Yu Aoi), quickly befriends Asuka and teaches her how to survive in the increasingly surreal hospital environment. Asuka later makes friends with another recovering overdose patient around her own age, Kurita (Yuko Nakamura), but conversely finds herself harassed by the ward’s resident fixer, former adult video actress Nishino (Shinobu Ootake), while other residents make repeated escape attempts or go to great lengths to set their hair on fire.

Asuka’s Wizard of Oz inspired outfit, hair, and the silver Dorothy slippers which play into a repeated motif of Asuka’s memories of a high school culture festival, all reinforce the idea of the hospital as a strange otherworldly place in which Asuka will be residing temporarily until she completes her quest. The temporary nature of the space gives Asuka’s journey a rather melancholy atmosphere as she’s encouraged to forget all about her time there when transitioning back to the “real world” meaning that the fragile bonds and friendships created during in her hospital sojourn will have to be left behind. Finally learning to calm down and take charge of herself, Asuka rediscovers a long absent inner strength and the last image we see of her is in raucous laughter after an catching sight of an improbable event through a car window.

Matsuo opts for a less madcap treatment than the far out comedy of Otakus in Love but carefully balances an absurd sense of humour with dramatic weight as Asuka’s personal discoveries are intercut with increasingly surreal episodes. Yuki Uchida shines in a early comeback role as the two very different Asukas even if she almost has the show stolen out from her by another beautiful performance from Yu Aoi as the sensitive goth Miki. Tackling a weighty subject with warmth and good humour, Welcome to the Quiet Room is another characteristically off the wall character piece from Suzuki, but all the better for it.


Original trailer (no subtitles)