Two women find themselves caught up in an impossible situation in Michio Koshikawa’s sensitive maternal drama After the Sunset (夕陽のあと, Yuhi No Ato). Though both want the best for the child, they have to acknowledge that someone is going to end up desperately hurt while perhaps no one is at fault other than the insensitive and austere society which saw fit to punish a young woman already in the depths of despair rather than come to her aid.
7-year-old Towa (Towa Matsubara) lives in a cheerful island village with his mother Satsuki (Maho Yamada), fisherman father Yuichi (Masaru Nagai), and compassionate grandma Mie (Midori Kiuchi). What he doesn’t know is that Satsuki and Yuichi are not his birth parents. Unable to have children of their own they decided to pursue adoption after years of unsuccessful fertility treatments and now that they have everything else sorted are hoping to finalise Towa’s legal status as a member of their family. What they don’t know is that Towa’s birth mother, Akane (Shihori Kanjiya), has been living on the island for the past year to be close to her son but is conflicted and at something of a loss as to what to do. Matters come to a head when they need the birth mother’s signature on the adoption forms to confirm her renunciation of parental rights and Akane’s true identity is exposed.
The first and most obvious problem is that both women believe themselves to be the rightful mother. Satsuki has been raising Towa since he was a baby and her feelings for him are no different than if she had given birth to him herself. Akane meanwhile gave birth to Towa in difficult circumstances and was then separated from him. She has spent the past four years searching and wants nothing more than to be reunited with her son. Though she can see that he is very happy with with Satsuki and Yuichi and is grateful that he has found such a loving family in such a beautiful place, she cannot bear the thought of losing Towa while Satsuki cannot help but fear that this other woman who was able to do what she was not in giving birth has come to take her child away.
It is of course an impossible situation with no good or right answers. Satsuki begins by resenting Akane, discovering that Towa was abandoned as an infant in an internet cafe and regarding her as having lost the right to call herself his mother but on investigating more begins to understand the kind of despair she must have been in to have taken such a drastic step. A victim of domestic violence left all alone with an infant child and no means of support, she considered suicide but rather than help her the authorities criminalised her actions and took her child away, dangling the false hope of a reunion in return for “rehabilitation” while Satsuki and Yuichi gave him a happy family home she knew nothing about. Towa has lived all his life on the island, he thinks Satsuki and Yuichi are his mother and father, how could you explain to him that he has to leave his second mother to return to the first that he never really knew?
Where one might expect there to be fear and anger, the two women eventually come to an understanding of one another as mothers who each want the best for the child even if that means they may end up hurt. As grandma puts it, the island is a welcoming place. It accepts all those who come, and does not pursue those who choose to leave but is always willing receive them when they return. Towa points out that that it takes a village, to him everyone on the island, including Akane, is his mother because they all raised him together though his father holds that the best mother of all is the sea. There is perhaps room for more than one if only in an ideological sense, no true mothers and no false only people who love their children and struggle against themselves to do what they know in their hearts is best. A gentle exploration of everyday life on a tranquil island, Michio Koshikawa’s sensitive drama finds people at their best in the extremities of emotional difficulty, finding their way through mutual compassion and understanding in an acknowledgement that there is no right answer only an acceptable best that leaves the door open for a future reconciliation.
Original trailer (No subtitles)