Ninja Girl (シュシュシュの娘, Yu Irie, 2021)

What can the ordinary person do when encountering injustice? Saying no is a start, but it might not be enough in the long run. According to the inspirational grandpa in Yu Irie’s Ninja Girl (シュシュシュの娘, Shushushu no Musume), if no one’s coming with you you’ll have to go on your own. Part coming-of-age drama, part political satire, Ninja Girl finds its reserved heroine coming into herself as she agrees to take on her grandfather’s unfinished mission and avenge the death of a family friend who took his own life in shame after being bullied into falsifying government documents in order to help a corrupt local council pass some overtly racist legislation. 

The reticent Miu (Saki Fukuda) takes care of her elderly grandfather (Shohei Uno) and has a steady job at the town hall, yet despite her ordinariness she is also a target for local shunning because of her grandfather’s intense resistance towards the “Immigrant Elimination Ordinance”. Miu isn’t in favour of it either, but is otherwise too shy to do much about it despite being harangued by her extremely unpleasant and intimidating supervisor Ms. Muteda (Mayumi Kanetani). On returning home one evening she overhears her grandfather talking to a family friend, Mano (Arata Iura), who appears depressed and talks of taking his own life after being strong-armed by Muteda among others to illegally alter and/or falsify official documentation in order to help them pass their odious bill. Mano then takes his own life in protest by jumping off the roof of the town hall, leaving Miu and her grandfather intent on avenging him by retrieving the evidence he’d preserved of governmental impropriety and exposing the mayor for what he is. Miu’s grandfather presents this as a “mission” he’s leaving to his granddaughter because he believes he’s not long left, revealing a long hidden family secret to the effect that Miu is actually descended from a long line of ninjas. 

Ms. Muteda tries to talk Miu round by insisting that the legislation is neither “discriminatory” nor “racist” which seems like a stretch when you’re using words like “eliminate”. After accepting her ninja legacy and using the book she’s found to make herself an authentic ninja outfit, Miu tries to do some digging all of which eventually takes her to a scrap yard mostly staffed by migrant workers whom Mano had been trying to help. Miu is originally turned away by the owner because of her association with local government but returns hoping to find the password for Mano’s thumb drive only to discover a weird gang of racist thugs dressed in lime green high visibility jackets beating up the scrap yard’s owner and spouting a lot of rubbish about how his workforce is taking jobs off Japanese people who apparently find themselves in need following the earthquake and coronavirus pandemic. 

For all of their talk about making Japan great again and keeping Japanese traditions in the hands of the Japanese, there’s a strange irony that their nemesis comes in the form of that most quintessentially culturally specific avenger, the ninja, and not only that a young female ninja rising up against oppression all on her own. Despite agreeing that she has no real skills, Miu’s grandfather thinks she’ll make a good a ninja because of her general invisibility while her childhood hobby of making blowpipes will also stand her in good stead. Accepting her “mission” gives Miu the kind of confidence otherwise lacking in her life to seize her own agency and stand up for what she believes in even when victory seems more or less impossible. Meanwhile, Muteda and her cohorts laugh loudly about how they’re only doing what the national government and other prefectures do in illegally altering their documents to make it look like they’re not doing anything wrong while they ride roughshod over the rights of ordinary people and pursue their xenophobic agenda. 

“Never again” Miu’s grandfather insists on recalling the pogroms which occurred after the 1923 Kanto earthquake leading to a massacre of Koreans, while finding himself branded a traitor to his nation. In another touch of irony, the cheerful children’s folksong Hana plays in the background as red balloons are launched to celebrate the Immigrant Elimination Ordinance in a nationalistic incongruity that seems to leave Miu more bemused than ever. Removing herself from this intensely corrupt social order and committing herself to ninja mastery while training alongside her her favourite collection of ‘80s pop hits, she determines to clean up town sending poison darts against the otherwise unopposed voices of disorder. Shot in a strangely comforting 4:3, Yu Irie’s quirky drama is drenched in the absurd but sends a very real message as its shy, reserved heroine steps into the shadows in order to resist societal corruption even while those all around her are content to stand by and watch as their freedoms are taken from them. 


Ninja Girl screened as part of this year’s New York Asian Film Festival.

Original trailer (no subtitles)

Wonderful Paradise (脳天パラダイス, Masashi Yamamoto, 2020)

A moribund Tokyo mansion becomes the scene for an orgy of life, death, love, and rebirth in Masashi Yamamoto’s surrealist party movie Wonderful Paradise (脳天パラダイス, Noten Paradise). Sometimes you have to learn to say goodbye and move on, other times you have to learn to forgive and let go of past resentment. Of course, sometimes you have to do both of those things at the same time, which is perhaps appropriate for the former home of the Sasayas which seems to exist between the realms of life and death, a perpetual Bon festival where departed spirits and lost souls congregate for one almighty party. 

Dad Shuji (Seiko Ito) has had a run of bad luck and unfortunately lost the family home he inherited from his parents meaning he and his two adult children, son Yuta (Soran Tamoto) and daughter Akane (Mayu Ozawa), are having to move on though who knows where to. Resentful that she’s having her life uprooted by her father’s fecklessness, Akane takes to social media and Tweets that there’s a party at hers and everyone’s invited as kind of goodbye to the house. Meanwhile, a series of strange events occur from a weird old monk (Akira Emoto) who keeps trying to pray to the various neoclassical statues on the property going nuts at a belligerent removal man and then apparently dropping dead, to the resurfacing of mother Akiko (Kaho Minami) who apparently left the family some years previously for a man who ran a coffee shop but has since passed away. 

The first people to arrive for the party are a gay couple looking for somewhere to celebrate their marriage, a minor irony in that the event will later descend into an elaborate funeral for two people who may or may not be dead. As more and more guests arrive, along with a series of opportunistic commercial food stands and other businesses, the party begins to get out of hand becoming ever stranger as the night wears on. 

At the heart of it all are the tensions in the family, an unresolved resentment directed at son Yuta who is, according to his brash aunt Yuka (Sonomi Hoshino), overly preoccupied with his family circumstances to the extent that it prevents him from getting a regular job and moving on with his life. Shuji has quite clearly failed both as a son and as a father, eventually betting one of his dad’s precious antiques in a card game run by yakuza loansharks setting up shop in the house. Akane appears exasperated, but is also harbouring an intense resentment towards Akiko for her abandonment that prevents her being able to “move on” from her former family home. 

Moving on is also a problem for a few of the ghosts, the line between the living and the dead becoming increasingly blurred. One random surreal moment to the next, Yamamoto careers between absurdist episodes culminating in a fight between a murderous sentient coffee bean and a statue come to life. What began as a lowkey wedding eventually becomes a bizarre funeral enacted through the medium of Bollywood song and dance transitioning into a traditional enka festival number all of which happens before a couple of hapless crooks who’ve been operating a drug factory on the family’s property for the last two years without them ever knowing turn up with their “super mandala drug of paradise” to send the evening in a psychedelic direction. 

Yet for all the surreality of death, violence, sex, and rebirth when dawn arrives it brings with it a kind of calm brokering a new peace between friends and family members as they learn to accept each other and the past in an unburdened sense of openness. Possibly deceased monks, talking cats, kids who can’t figure out how to stop swinging and mysteriously turn themselves into sticks or dissolve in bath water, scorned lovers, unrepentant thieves, ghosts and family secrets descend on this weird gothic mansion in the middle of a city, creating a “wonderful paradise” for one night only filled with surrealist magic and unforgettable strangeness that nevertheless pushes the family back together through dream logic and a taste of the absurd. A weird, sometimes incomprehensible, journey into an etherial, psychedelic twilight psychodrama rave, Yamamoto’s charmingly bizarre nighttime odyssey is a law unto itself but one filled with wonder for the uncanniness of the everyday. 


Wonderful Paradise streamed as part of this year’s Nippon Connection.

Original trailer (English subtitles)