“Plain bread is nice too” a short-term visitor concedes having reached an epiphany after a few days’ stay at Cafe Mani in Yukiko Mishima’s slice of comfort cinema, Bread of Happiness (しあわせのパン, Shiawase no Pan). Perhaps in its own way a reaction to the devastating earthquake and tsunami of the previous year which is referenced in the closing arc, Mishima’s drama is one of a series of films from the 2010s advocating for a simpler life built on empathy and mutual compassion as a bulwark against the increasing disappointments of a relentlessly consumerist society.
The heroine, Rie (Tomoyo Harada), was a lonely child who buried herself in a fantastical children’s book about a little boy, Mani, who was best friends with the Moon. Touched by Mani’s words when the Moon asked him to take down the sun because its brightness made his life unbearable that “what matters most is that it shines on you and that you shine on others”, Rie resolved to find her own Mani but has long since given up. She and her her husband Mizushima (Yo Oizumi) have recently relocated to a Hokkaido ranch where they run a cafe bakery that has quickly become a community hub tending to the wounded souls of the local area and sometimes even beyond.
The urban/rural contrast is rammed home by the couple’s first guest, Kaori (Kanna Mori ), a young shop girl from Tokyo who was supposed to be going to Okinawa with her boyfriend but he stood her up and she’s come to Hokkaido instead. Although originally grumpy and sullen, Kaori begins to warm to the charms of rural life complaining that in Tokyo people have to force themselves to smile. Her words accidentally hurt the feelings of local boy Tokio (Yuta Hiraoka), conversely jealous of big city opportunity but lacking the courage to strike out from his small-town life in which ironically enough he works as a points switcher at the local railway. What Kaori learns through her various experiences and the kindness of the Mizushimas isn’t that country life is better just that small happinesses are often all you need, there is pleasure in simplicity, and there’s no need to submit herself to the pretentiousness of city life explaining that she’s going to tell her coworkers the truth about her Okinawan holiday and bring some of the wholesome homemade bread back for them too.
But then, it isn’t always so easy as the couple discover trying to help a sad little girl in the wake of marital breakdown. In a slightly surprising twist, Maki (Yuki Yagi) has been abandoned by her mother who has left the family and is struggling to accept both her loss and the change in circumstances which goes with it. The dilemma revolves around a bowl of pumpkin soup which Maki refuses to eat despite having previously longed to taste her mother’s signature dish. The realisation she comes to is that something can be different but that doesn’t make it bad, bonding with her equally dejected father (Ken Mitsuishi) thanks to the gentle support of the Mizushimas who seem to have a knack for knowing just what everyone who comes through their door needs.
That goes double for the elderly couple who turn up late one night in the dead of winter, husband Fumio (Katsuo Nakamura) worryingly explaining that they’ve lived long enough, that while you’re young you still have the possibility of change, of becoming “a different you”, but old age has no further possibility nor the ability to change. Having lost their daughter in the tsunami the old couple are trapped in an inertia of grief from which they are gradually awakened by the gentle care of the Mizushimas and the sight of the beautiful moon that shines down on Cafe Mani.
Rie meanwhile remains privately dejected, longing for her own Mani but convinced she’ll never find him only to realise he’s been there all along. Just like the words in the picture book, Rie and Mizushima have resolved to be the light, Fumio later sending them a letter claiming that they have discovered the ideal form of happiness in their simple life doing as they please surrounded by friends who have already become family and offering love and support to all who come through their doors through the medium of delicious seasonal food. With a host of quirky side characters including an omniscient glass blower (Kimiko Yo), genial postie (Chikara Honda), farmers with an ever expanding family, and a regular customer who carries a mysterious trunk around, while narrated (seemingly) by a sheep with the voice of a child Mishima’s gentle drama is foodie pure comfort cinema in which good bread and a warm fire may yet save the world.
Bread of Happiness until 27th February in several territories as part of Japanese Film Festival Online 2022.
Original trailer (English subtitles)
Those golden last few summers of high school have provided ample material for countless nostalgia filled Japanese comedies and 700 Days of Battle: Us vs. the Police (ぼくたちと駐在さんの700日戦争, Bokutachi to Chuzai-san no 700 Nichi Senso) is no exception. Set in a small rural town in 1979, this is an innocent story of bored teenagers letting off steam in an age before mass communications ruined everyone’s fun.
Windows on Worlds 