Yocho (Foreboding) (予兆 散歩する侵略者, Kiyoshi Kurosawa, 2017)

Yocho posterBefore We Vanish, Kiyoshi Kurosawa’s take on the alien invasion drama, was an oddly romantic affair which made a case for the ineffability of love as the only possible form of human salvation. Meanwhile, cheating on cinema with television, Kurosawa tells us a different story. Yocho (Foreboding) (予兆 散歩する侵略者, Yocho: Sanpo Suru Shinryakusha) was first conceived as a TV drama running as a companion piece to the big screen experience but its canvas is noticeably darker. At heart, we have the same story with a slight variation as a bold wife attempts to save her weak willed husband from alien manipulation, risking all to keep him safe him while the world burns around her. What we see this time is less the enduring power of love as a force for good, than yet another form of human weakness which encourages selfishness and creates a space into which nefarious forces may move.

In contrast to Masami Nagasawa’s conflicted, wounded wife of Before we Vanish, Etsuko (Kaho) is happily married to Tatsuo (Shota Sometani) who works at the local hospital. As she loves her husband so much, Etsuko is quick to realise there’s something not quite right in the way he’s been silently gazing off into space and walking around like a man possessed. Meanwhile, she’s accosted by a friend at work who asks to stay over because she’s too afraid to go home on account of “the ghost”. Eventually Etsuko goes investigating and discovers “the ghost” is really just her friend’s dad only her friend seems to have forgotten all about him and doesn’t quite understand what a “father” is anymore. Fearing the worst, Etsuko arranges to take her to the hospital, which is where she comes into contact with the strange and intimidating Dr. Makabe (Masahiro Higashide).

Dr. Makabe is one of the alien invaders seen in Before We Vanish who have come to Earth on a scouting mission ahead of its destruction. His mission is to steal “concepts” from people’s heads so the aliens can catalogue soon to be extinct humanity. Makabe has recruited Tatsuo to be his guide but this is a very different arrangement to that Shinji makes with his “wife” Narumi. Tatsuo is not so much an interpreter as an informant. His “job” is to select Makabe’s “victims” in return for preferential treatment when the apocalypse arrives. Increasingly conflicted in betraying his own species, Tatsuo is going slowly off the rails while the world disintegrates all around around him.

Etsuko, meanwhile, has a kind of superpower of her own in that she is apparently “immune” to alien interference. They can’t take concepts from her, they can’t manipulate her will, and they can’t break her bond with her beloved (if slightly useless) husband. The power of love still reigns supreme but this time it’s not entirely a good thing as Etsuko, who has the means to resist the evil invaders, focusses on rescuing her one true love rather than defending humanity. Love is her weakness, whereas Tatsuo’s seems to be a low lying resentment of his lack of authority. A showdown with Makabe sees him offer a grim prognosis, as long as humans lust for power there will be no escape.

Makabe, meanwhile, has experienced the opposite revelation to his Before we Vanish counterpart in learning about death and human fear of mortality. Suddenly knowing what it means to die, he understands something of human existence, realising that death is forever beside you. Love maybe be the cure for “eternal loneliness”, but Makabe’s enlightenment is born of fear and darkness rather than human warmth.

Yocho, in a sense, mirrors Before We Vanish but in a darker hue. Etsuko and Tatsuo maybe a “happier” couple than Shinji and Narumi, but Tatsuo has already crossed to the dark side, abandoning his humanity and committing heinous and unthinkable acts on behalf of his alien master out of fear and desire. Makabe, taking Tatsuo to task, points out his weakness in his need for painkilling drugs to overcome the punishment Makabe has handed down for his betrayal. Humans, he says, always choose the comforting lie over the painful truth, swallowing pain killers rather than killing the pain by dealing with its root cause. This is in a way what Etsuko has chosen to do in her quest to save Tatsuo rather than using her skills to resist the alien invasion, though Makabe remains oddly fascinated by her various unusual qualities. Foreboding fills the frame as Etsuko meditates on the various oddities of her world while the skies thunder behind her, sending curtains billowing ominously in the absence of wind. A wounded Makabe ironically remarks that he has “underestimated the power of love”, reminding us that the greatest of human strengths is also its weakness, promising destruction as much as salvation.


Screened at the 20th Udine Far East Film Festival.

Original trailer (English subtitles)

Before We Vanish (散歩する侵略者, Kiyoshi Kurosawa, 2017)

©2017 BEFORE WE VANISH FILM PARTNERS

before we vanish posterKiyoshi Kurosawa is getting sentimental in his old age. In Journey to the Shore and Real, brokenhearted, left behind spouses went on long and difficult journeys of grief and salvation. In Before We Vanish (散歩する侵略者, Sanpo Suru Shinryakusha) we receive a visitation that presages our doom but wishes to know us before we go. An alien invasion movie which takes its cues from Invasion of the Body Snatchers and They Live, Kurosawa’s quirky drama is less about the enemy within than the hidden existential threat of a failure to understand oneself. As the Japanese title suggests, these invaders are merely out for a stroll, making time to smell the flowers before the big lawnmower arrives to cut them all down.

Strange events are afoot in Tokyo. A high school girl wanders home with a pair of goldfish in a plastic bag before brutally murdering her entire family, gazing at the scene of carnage with a beatific smile. Meanwhile, the estranged wife of Shinji Kase (Ryuhei Matsuda), Narumi (Masami Nagasawa), has been sent for to claim her presumably amnesiac husband from a medical facility. Shinji was brought in after wandering the streets cluelessly and seems to have lost certain sections of his memory. The doctor’s diagnosis is uncertain but leans towards some kind of temporary psychotic break or early onset Alzheimer’s. In any case, he is now Narumi’s responsibility, much to her consternation. Across town a down on his luck journalist (Hiroki Hasegawa) covering the brutal family murder finds himself the designated “guide” to another strange young man, Amano (Mahiro Takasugi), who seems to have done something very untoward to his parents.

These three “strangers” are really invaders from outer space – something which they freely confess to anyone who will listen, only everyone assumes they are joking. Exactly why they want to destroy the Earth is never revealed, nor is the the reason for the strange mission undertaken by the three researchers acting as the vanguard for the upcoming invasion. These three have been tasked with a thorough investigation of “humanity” in which they must learn and acquire certain “concepts”. They do this by requiring the subject to visualise their thinking behind a word or phrase and then tapping the head to pinch it causing that concept to be removed from the person’s interior cosmology.

The aliens learn as much from the effect of removing the concept as they do from its explanation. This being Japan, it’s not surprising that the first concept Shinji removes is that of “family” which he takes from Narumi’s younger sister, Asumi (Atsuko Maeda). Asumi had decamped to Narumi’s after an argument with her parents over their railroading her into a mainstream life she doesn’t really want. The removal of the concept of family means Asumi no longer needs to be bound by hollow obligation but her sudden coldness towards her sister immediately invites a series of other questions as to the true nature of their relationship. Similarly, Shinji removes a concept of “possession” from a young man. The young man does not immediately lose understanding of the word, but the concept ceases to be important to him. He is, in a sense, freed from the burden of materialism. Paying an unexpected visit to Narumi’s workplace and meeting her boss who, it seems, has just belittled her work on an important project after she rebuffed his attempt at sexual harassment, Shinji removes his concept of “work” leading him to play aeroplanes all around the office like an overexcited child.

There are positive effects of losing some of these centrally held ideas even if their loss seems tragic or painful on the surface. They are, however, what make us human whether that be attachment to family or an irrational desire to devote all to work and ceaseless acquisition. The final, most elusive concept is that of love – something alien and fascinating to the visitors which they find impossible to harvest due its essentially nebulous nature. Despite being part of a uniform hive mind, the invaders have each developed unique personality traits as a consequence of their “human” lives – the schoolgirl craves violence and destruction, Amano fatherly friendship, and Shinji something close to love with his own “guide” in the form of Narumi whose love for her husband apparently endured despite his betrayal.

Far from the gloomy nihilism of Pulse in which death is eternal loneliness, Before We Vanish suggests that what will survive of us is love. Salvation does, however, require a sacrifice which provokes the film’s romantic conclusion in which the absence of love becomes the “eternal loneliness” promised by Pulse but is tempered by patience and devotion. A gleefully absurdist exploration of the human soul, Before We Vanish finds Kurosawa at his most optimistic affirming the power of the human spirit at its most indestructible.


Screened at the London East Asia Film Festival 2017.

International trailer (English subtitles)