The Kodai Family (高台家の人々, Masato Hijikata, 2016)

kodai family posterFear of “broadcasting” is a classic symptom of psychosis, but supposing there really was someone who could hear all your thoughts as clearly as if you’d spoken them aloud, how would that make you feel? The shy daydreamer at the centre of The Kodai Family (高台家の人々, Kodaike no Hitobito) is about to find out as she becomes embroiled in a very real fairytale with a handsome prince whose lifelong ability to read minds has made him wary of trying to form genuine connections with ordinary people. Walls come down only to jump back up again when the full implications become apparent but there are taller walls to climb than that of discomfort with intimacy including snobby mothers and class based insecurities.

29-year-old Kie (Haruka Ayase) has a dull job as a regular OL in the successful Kodai company. A self-confessed shy person who finds it difficult to talk, Kei spends most of her time alone though she does have a few friends at work. Though Kei’s exterior life may appear dull she has a rich, even overactive imagination which she uses to entertain herself by heading off into wild flights of fancy guided only by a friendly (?) gnome.

Kei’s life begins to change when the oldest son of the Kodai family returns to the office after studying abroad. Mitsumasa (Takumi Saito) is a handsome, if sad-looking man who quickly has all of the office in a flurry of excitement thanks to his dashing good looks and confident stride. Mitsumasa, however, has a secret – the ability to read other people’s thoughts inherited from his British grandmother, Anne. Whilst walking down the corridor and trying to ignore the lewd and avaricious thoughts of some of the ladies (and the worried ones of some of the men now fearing more than one kind of competition), Mitsumasa is treated to one of Kei’s amusing fantasies and is quickly smitten.

For Kei who finds voicing her true feelings difficult, Mitsumasa’s ability seems like the perfect solution. Finally, someone who will just understand her without the need for conversation. However, what Kei hasn’t considered is that a deeper level of intimacy is being asked of her than she’d previously anticipated. From the merely embarrassing to the tactless and tasteless, it is no longer possible to withhold any part of herself other than by an exhausting process of trying to close her mind down completely. Mitsumasa is used to this particular phenomenon in which his enhanced powers of communication only result in additional barriers to connection. Somewhat closed off himself, resigned to the fact he’s going to “overhear” things he’d rather not know, Mitsumasa has made a point of keeping himself aloof from ordinary people who, once they know about his abilities, find him suspicious and threatening.

Yet Mitsumasa’s telepathic powers are not the only obstruction in this fairytale love story. Kei already can’t quite believe what’s happening is real and struggles with the idea someone like Mitsumasa might seriously be interested in her. Though Mitsumasa’s brother (Shotaro Mamiya) and sister (Kiko Mizuhara), who share his ability, are broadly supportive (and equally entertained by Kei’s innocent and quirky flights of fancy), his mother (Mao Daichi) is anything but. Kei’s prospective mother-in-law starts as she means to go on by mistaking Kei for a new maid and then proceeding to further erode her confidence by pointing out that she knows nothing about this upper class world of balls and tennis and horse riding.

When it all becomes too much, Kei does what she always does – retreats to safer ground. Papering over her cowardice with the weak justification that she thinks she’ll only make Mitsumasa miserable, Kei backs away from the idea of baring her whole, unfiltered soul even if she knows it will cost her the man she loves and the ending to her real life fairytale.

Though charming enough and filled with interesting manga-inspired effects, Kodai Family never makes the most of its interesting premise, falling back on standard romantic comedy tropes from parental disapproval to predictable misunderstandings. The irony is that Mitsumasa and his siblings are so busy listening to the thoughts of others that they often can’t hear their own and are so deep in denial that they need a third-party (telepathic or not) to push them into realising how it is they really feel. This is a world of double insulation, in which the walls are both thick and thin, but there is a way a through for those brave enough to kick them down by baring all for love, snobby mothers be damned.


Original trailer (English subtitles)

Survival Family (サバイバルファミリー, Shinobu Yaguchi, 2017)

survival family posterModern life is full of conveniences, but perhaps they come at a price. Shinobu Yaguchi has made something of a career out of showing the various ways nice people can come together to overcome their problems, but as the problem in Survival Family (サバイバルファミリー) is post-apocalyptic dystopia, being nice might not be the best way to solve it. Nevertheless, the Suzukis can’t help trying as they deal with the cracks already present in their relationships whilst trying to figure out a way to survive in the new, post-electric world.

Receiving a package from grandpa fills the Suzukis with horror more than gratitude. Mum Mitsue (Eri Fukatsu) can’t bring herself to cut the head off a fish and the sight of the giant bug that crawls out of the lettuce is just too much to bear. Her teenage daughter, Yui (Wakana Aoi), is not very excited either, tapping her smartphone with her fake nails, while her son Kenji (Yuki Izumisawa) spends all his time alone in his room with headphones permanently attached. Mr. Suzuki, Yoshiyuki (Fumiyo Kohinata) – the family patriarch, is a typical salaryman, obsessed with work and often in bed early.

All that changes one day when Yoshiyuki’s alarm clock does not go off. There’s been a power outage – nothing works, not the TV, not the phone, not even the tower block’s elevator. Being the salaryman champ he is, Yoshiyuki tries to make it into to work in other ways but the power’s out across the city and there’s nothing to be done. Everyone is sure the power will come back on soon, but days pass with the consequences only increasing as supermarket shelves become bare and water frighteningly scarce. After his boss decides to take his chances in the mountains and a neighbour dies as a direct result of the ongoing power shortage, Yoshihyuki decides to take the family on the road to find Mitsue’s country bumpkin father in the hope that he will have a better idea of how to survive this brave new world.

Yaguchi is quick to remind us all of the ways electricity defines our lives, even if we’ve begun to forget them. Not only is it a question of mobile phones being out and lifts being out of order, but gas appliances are also electric ignition as are the pumps which drive the water system. So used to the constant stream of electricity, no one quite realises what its absence means hence Yoshiyuki’s big idea is to get a plane from Haneda airport. Ridiculous as it may seem, he’s not the only one to have underestimated the part electricity plays in flight and the aviation industry as the airport is swamped by people trying to escape the rapidly disintegrating city. Credit cards no longer work leading to long checkout lines as the old ladies with their abacuses make a startling return to checkouts while bemused shoppers attempt to use the ATM machine to get more cash.

Cash itself still has worth, at least for a time. Eventually the barter system takes over as food and water become top price commodities. A very flash looking man tries to trade genuine Rolex gold watch and later the keys to his Maserati for food but is roundly informed that none of his hard won prizes is worth anything in this new back to basics era. Thanks to Mitsue’s housewife skills of frugality and haggling, the family are able to get themselves a small stockplie of resources but find themselves tested when the less fortunate ask them for help.

The crisis brings out both the best and the worst in humanity. As the family make their escape from the city on a series of bicycles, they pass a succession of salesmen all upping the price of bottled water by 100% each time. Profiteering is rife as the unscrupulous procure ordinary foodstuffs to be sold for vast amounts of money. Yet the Suzukis rarely find themselves on the wrong side of trickery and even encounter a few kindly souls willing to help them on their journey such as a gang of cycle wear clad survival experts and a very forgiving farmer who takes the family in when they help themselves to one of his escaped pigs (a sequence which allows Yaguchi to go on another Swing Girls-style pig chase only without the slo-mo and classical music).

Forced to reconnect, the family become closer, gradually coming to know and accept each other whilst finding new and unknown talents. Living simply and harmoniously has its charms, ones that don’t necessarily need to disappear if the power ever comes back on. The only certainty is that you can’t survive alone, and who can you count on if you can’t count on family?


Screened as the opening night movie of the Udine Far East Film Festival 2017.

Original trailer (English subtitles)