Category: Film

Japan Society’s Talks+ program features a variety of lectures and events throughout the year that provide wonderful examinations of numerous aspects of Japanese culture. Currently there are several related events running that provide a spotlight on the Gifu prefecture, which began with a lecture and reception entitled “Gifu, The Heartland of Japan.”

 

 

The lecture portion of the evening was introduced by Japan Society president Motoatsu Sakurai and had opening remarks by The Honorable Hajime Furuta, Governor of Gifu, who gave historical context to Gifu and talked about his current US trip and some exciting new developments in terms of cooperation towards tourism and historical preservation and recognition between Gifu and parts of the US.

 

 

Moderator Susan Miyagi Hamaker then explained the basics and traditions of Jikabuki, including audience participation and the amateur nature of the performers, and introduced an abbreviated ten-minute performance by the Tono Kabuki Nakatsugawa Preservation Society. It was fun to watch and a nice spotlight on this form of Kabuki theater that is most active in Gifu.

 

 

After the performance Graeme Howard, Coordinator for International Relations for Gifu Prefecture’s Tourism Promotion Division, gave the longest section of the lecture in which he talked about some of the wonderful places and things to see and experience in Gifu as well as their culinary and artistic specialties.

 

 

Following Graeme’s presentation the lecture concluded with a personal tale from Dr. Sylvia W. Smoller, whose parents survived the Holocaust due to the decision of humanitarian Chiune Sugihara, who issued transit visas to Jewish refugees during the Holocaust despite his government’s orders. In addition to the emotional tale of her family’s journey and Sugihara’s selfless actions, her talk including interesting thoughts about the character behind such important acts and the environment needed to foster them.

 

 

The entire lecture was wonderful, highlighting everything from the history to the art and culture to the food of Gifu, as well as the people themselves.

 

 

But that was only half the evening, as afterwards attendees were treated to a sampling of incredible dishes featuring Gifu’s famous Hida Wagyu beef and sake brewed using Gifu’s pristine waters as well as an exhibition of some of Gifu’s pottery and a chance to meet and gets pictures with the Jikabuki performers.

 

 

Excellent even above Japan Society’s Talks+ already high standards, “Gifu, The Heartland of Japan” was a great evening that provided a multitude of information and experiences related to the subject province.

 

 

Japan Society’s annual Japan Cuts Film Festival for 2016 ran from July 14th through July 24th. These were the last three movies I saw as part of this year’s screenings. My thoughts on last year’s festival can be read starting here.

Check out my thoughts on other films from this year in posts about Bitter Honey and Lowlife Love,  Nagasaki: Memories of My Son and Bakuman, and The Shell Collector and Being Good.

 

Flying Colors

“Once you achieve the impossible, you can do anything.”

Sayaka is a social butterfly content to scrape by in dead last place among the students at a high school that guarantees admittance into its partner college to all who attend. But when an unusual cram school teacher sets her sights on one of the most prestigious colleges in Japan, years of being called worthless combine with the surprise of having someone believe in her to make Sayaka determined to prove everyone who thinks she has no chance wrong.

Flying Colors is a wonderful story about pursuing dreams and attempting to defy expectations. Structured brilliantly, the movie starts by providing some strong background scenes of Sayaka’s scholastic past to set up how she ended up in her starting status quo, content to know nothing. Her complete lack of shame about being stupid while not resenting those smarter than her is one of the big comedic hooks early on, and cements her as a lovable doofus that the audience is happy to cheer for. Kasumi Arimura plays the part perfectly, and the pairing with Sayaka’s unconventional teacher who knows how to encourage poor students to start to enjoy learning is not only hilarious but also gives the film its core. Their shared enthusiasm about Sayaka getting the slightest things right early on provide outrageously funny scenes. The various ways in which the teacher played by Atsushi Ito brings out the best in his band of misfits and genuinely sees their potential and cares about their success and improvement is phenomenal.

Expertly interwoven with the humor and Sayaka’s educational journey is a touching family drama centered around her father’s projection of his own dream of big time baseball success onto Sayaka’s brother and the complete lack of support any of the women in the family get from him. Sayaka’s mother and her complete devotion to her children anchor the film, with Yo Yoshia giving an extraordinary supporting performance as someone who truly wants nothing more than her children’s happiness. The drama is genuinely emotional without ever getting overly sappy or melodramatic, and adds a perhaps unexpected amount of heart beneath all the humor.

As I’m sure is clear at this point I loved just about everything about this film. Easily one of my favorites of the festival.

 

Kako: My Sullen Past

“Isn’t everybody lonely? Alone or even if you’re with family.”

High schooler Kako spends her summer days bored out of her mind, listlessly going through the motions of helping in her family’s restaurant and staring at a local river looking for a crocodile she knows isn’t there. Then her activist, long thought dead aunt shows back up on the family doorstep.

Japan Cuts has been my first introduction to the incredible talent of Fumi Nikaido, and it was fascinating to see her here playing such a different character from Akako in Bitter Honey. Akako popped off the screen with an infectious playfulness and a larger than life feel. Kako is compelling in a different way, with apparent apathy arising from her boredom completely infusing her body language and making her susceptible to insatiable curiosity about her mysterious aunt. The flatness Nikaido achieves in Kako’s everyday actions and personality makes it all the more intriguing when she takes interest in anything. The contrast in the two characters and the skill with which she plays both highlights her versatility and why she’s such a highly regarded and awarded actress even at such a young age.

The feelings and sounds of summer come across well, and appropriately compliment the film’s odd tone, which examines the slow yet relentless passage of time in the lives of Kako and her family.  Boredom is portrayed as so pervasive its relief is more important to the characters than even the well being of others. The disaffected nature of both Kako and her aunt’s personalities adds humor to some very dark moments in a way that generally works, yet still feels strange when the viewer realizes what they just laughed at.

There’s a lot simmering just underneath the surface of the depicted events, both in theme and in production. Such as the significance of Kako’s interactions with her aunt’s mysterious companion, or the facts that Kako’s baby sister remains unnamed, is constantly commented upon for how little she moves, and is clearly played by a doll if the viewer looks closely at the bundle of blankets.

There are aspects of Kako: My Sullen Past that I really liked and aspects that I didn’t. I’m not entirely sure how I feel about it as a whole, but it was well made and acted, and quite interesting. I’m glad I saw it.

 

Emi-Abi

“… if you can make me laugh.”

 

During the Q&A following the world premiere of Emi-Abi at Japan Cuts, director Kensaku Watanabe explained his desire when making the film to show genuine comedy yet constantly undercut it with dramatic and somber elements. He really succeeds in this goal, giving his story of a comedian trying to move on after the loss of his partner a tone that constantly switches and balances between light hearted comedy and deeper, sadder themes.

The plot progression was solid, but not at all as I expected. The film is extremely flashback heavy, focusing a lot on deceased partner Unno, what happened the night of his passing, and a surprisingly well developed romantic story involving him and a young fan. Unno steals the movie from his surviving partner Jitsudo, who is well portrayed but while we understand and sympathize with his grief we never really feel it, making nearly every character in the film more sympathetic than the supposed main character trying to find his new path in life.

The entire supporting cast was quite good, but I was especially impressed with what Haru Kuroki did as Jitsudo’s manager, making the most of a small role as someone totally devoted to seeing Jitsudo at his best once again despite the tragedy.

I found parts of Emi-Abi disjointed and the balance of characters a bit off, but it’s a decent film overall made with a specific vision in mind and supported with strong acting.

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Fantastic festival overall as usual from Japan Society Film. Definitely check out some of these great movies as you are able.

Japan Society’s annual Japan Cuts Film Festival for 2016 started on July 14th and is running through July 24th. My thoughts on last year’s festival can be read starting here.

My thoughts on Bitter Honey and Lowlife Love can be read here, and those on Nagasaki: Memories of My Son and Bakuman here.

 

The Shell Collector

“Being alone is intimate.”

In The Shell Collector Japan Cuts 2016 recipient of the Cut Above award Lily Franky plays an elderly blind man who has isolated himself from society and spends his time collecting shells along the beach. The opening of the movie has a serene quality as it shows his everyday life and events that bring a trouble woman unexpectedly into it. From there the movie’s tone and direction changes a couple times, dealing with escalating events and consequences arising from the intersection of the old man’s hobby and a mysterious disease affecting the islands around his reclusive home.

The entire movie is incredibly well acted and directed to convey a real feeling of blindness of the main character. Little touches regarding the way he searches for his shells and finds his way around his home really sell the concept, which is so important to the way the plot unfolds. Excellent cinematography featuring fantastic locations and great integration of art, props, etc heighten the atmosphere and impact of the film expertly.

The themes are abstract, and I’m still not sure quite what to make of the film as a whole. I realize it was bound by being an adaptation of a short story and is quite faithful to the source material from what I understand, but I wanted something more/different from story. The early portion of the film was my favorite, and it seemed there was great potential to continue in that same vein throughout.

The Q&A afterward with the director, the producer, and star Lily Franky was interesting and once again the moderator had great questions and asked the question I had in mind. Franky’s sense of humor was off-color and a little inappropriate at times, but overall this was another good Q&A.

Overall I think I liked The Shell Collector, although some parts quite a bit more than others. I didn’t find it great in total, but parts of it certainly were and it was certainly a good film.

 

Being Good

“I don’t know how to be good.”

Being good tackles numerous related difficult societal issues regarding forms of abuse and ingrained standards, attitudes, and expectations that facilitate these tragic situations. It’s a poignant, raw look at both these difficult situations as well as some of the obstructions to dealing  with them.

The key to the movie is the careful touch with which this delicate subject matter is presented. The film does not shy away from illustrating the harshness of the problems being addressed in a blunt manner, but it is done with a point and completely without sensationalism and none of the scenes ever feel the least bit exploitive. Abuse is sadly a part of the lives of the characters, and it needs to be shown matter of factly in order for the audience to understand its nature and depth, and for the characters to be able to contemplate what to do about it.

This of course makes parts of the film (extremely) hard to watch, but the important things the story has to say about abuse make these scenes both worth watching and indispensable to the film. The most important thing is that there are glimmers of hope and genuine efforts and desire from certain characters to break these cycles. These are stories that don’t just present an upsetting status quo, they express a wish for things to be better.

Through three parallel stories in the same town, Being Good tackles subjects ranging from a young school teacher trying to learn how to deal with bullying within his classroom as well as trying to help a student he suspects is being abused, to a mother who disciplines her child through violence and hates herself for it, to society’s attitudes towards the metal ill and how it changes with the person’s age, to some of the emotional realities of raising an autistic child. This variety of related issues and the skill with which they were integrated together into a single film are incredibly impressive. Each of the three parallel tales are balanced perfectly, without any characters, stories, or themes feeling shortchanged and with all of them receiving equal and appropriate weight.

That the director was able to bring all of this together is amazing. Being Good is an adaptation of three short stories from a collection of five. Making everything work in the balanced manner I described without losing any of the underlying messages or their impact is a huge accomplishment. The acting is equally superb, both from the adults grappling with moral dilemmas and feelings of bitter realities beyond their control, and from child actors tasked with communicating heart wrenching emotional distress. I found this film just phenomenally made from top to bottom.

The Q&A with director Mipo O following the screening was illuminating, as she covered topics ranging from how this film differed from her other movies, to the process of adapting these stories and approaching the subject matter, to the care with which certain scenes needed to be approached, specifically in making sure the child actors were not suffering emotion distress themselves in the process of having to portray it.

Being Good is a masterpiece, and may very well be the best film of an extremely strong Japan Cuts Festival this year.

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So these were two more unique and thought provoking films featured during the festival. Will be back with more a couple more reviews as Japan Cuts concludes. 🙂