This site focuses on Japanese cinema, but Japanese cinema is far from the only world cinema I watch. Sometimes I like to highlight other films when they have some crossover with Japan, Japanese culture, or Japanese actors and directors. The South Korean WW2 drama The Battleship Island (2017), from director Ryoo Seung-wan, is just such a film. Set in 1945 on the island of Hashima (nicknamed ‘Gunkanjima‘ or ‘Battleship Island’ for its distinctive profile on the horizon), it follows a number of Korean conscripts pressed into forced labour in the island’s coal mines and ‘comfort stations’ by the Imperial Japanese authorities. As WW2 draws to a close and the authorities become increasingly desperate and brutal, the Korean workers hatch a plan to escape. Though the escape attempt is a work of fiction, the island itself, its coal mines, and the brutal conditions the workers lived under are all historical.
I find Japanese films to review all over the place. Some are old favourites I already had in my collection, others are from the growing catalogue of cult and classic films from niche Blu-Ray publishers, and some just happen to pop up on streaming services like Netflix or Sky Cinema. It’s the latter where I’m most likely to see something unusual that I might otherwise have missed – I’m probably going to pick up every Kinji Fukasaku gangster movie I can find, but won’t necessarily see the latest contemporary drama from a director I’ve never encountered. That’s how I ended up watching Harmonium (2016) by Koji Fukada. A bleak study of human misery, it follows the family of metalworker Toshio (Kanji Furutachi) as an old acquaintance re-enters his life after coming out of prison. Inevitably, this disrupts the family’s already fragile existence and a series of terrible events ensue.
Continuing the theme of gentle slice of life dramas, this week I watched After the Storm (2016) from director Hirokazu Kore-eda. It follows Ryota Shinoda (Hiroshi Abe), an award-winning novelist who has fallen from grace; divorced, estranged from his son, distrusted by by his sister, and struggling to make ends meet as a private detective while squandering half his earnings on gambling. In the midst of typhoon season, Shinoda is trying to piece the fragments of his life together and collect enough cash to pay his overdue alimony before his ex-wife Kyoko (Yoko Maki) withdraws access to their son. What follows is a surprisingly charming cross-section of Shinoda’s life, a film less about him trying to fix what went wrong than simply get out of freefall.
From director Naomi Kawase, Sweet Bean (2015, also widely released under its Japanese title An) is the story of a baker, Sentaro (Masatoshi Nagase), who runs a tiny dorayaki shop. His business gets an unexpected boost when Tokue (Kirin Kiki) comes into his life. She’s an elderly woman keen to work part-time in his shop, and manages to sway Sentaro into agreeing when he discovers she’s a master at preparing the titular sweet bean paste that goes into the middle of every dorayaki. Sweet Bean becomes a fairly straightforward drama in which its central characters search for meaning in their lives, all tangled up around the dorayaki shop, but it’s somewhat harder going and less heartwarming than the premise would suggest, dealing with some heavy themes of prejudice and obligation.