Matt Cooper Films

Leaving on the 15th Spring (2013) by Yasuhiro Yoshida

The Daito islands are a small archipelago hundreds of miles south-east of Okinawa. As the islands have no high-school, almost all 15 year olds leave the island to attend school on the main island. After her senior leaves, Yuna (Ayaka Miyoshi) becomes the eldest middle-schooler, due to depart the following spring. Her father, Toshiharu (Kaoru Kobayashi), lives on the island with her, along with her elder sister Mina (Saori Koide) and her sister’s child Mei. Her mother Akemi (Shinobu Atake) meanwhile lives on the main island, with speculation that she is estranged from her husband. Yuna is part of a folk-group, playing the traditional Shinsan instrument and singing, which gives her a unique insight into the cultural heritage of her island.

Writer-director Yasuhiro Yoshida was shown a 20-minutes documentary on the inhabitants of the Daito islands by his producer and tasked with making a film depicting their story. The film certainly succeeds in showing the beauty of the islands and the tranquility of the rustic lifestyle. We learn about the sugar-cane that grow, hear traditional songs, see the stunning vistas, glimpse the fishing and agricultural industries that predominate, and enjoy the seasonal festivals in a film that depicts a full year of island life. Throughout the film also keeps a firm focus on the emotional journey of Yuna and her family. While described as a romance, Yuna’s relationship with Kento, a boy from the north island, is only a small part of her journey, with the best part of the film concerning her relationship with her family. The central performance from Ayaka Miyoshi, who also learnt to play the Shinsan and sing in the traditional style, is a wonderful portrayal of a young woman learning to appreciate what is important in life. The supporting cast, in particular Kaoru Kobayashi as her father, also bring a great emotional depth to the story, showing both the enjoyable and difficult aspects of island life. The film’s mix of the traditional and modern sensibilities is highlighted in the score, which features a romantic backdrop of piano and strings, alongside poppy love songs and the folk-music that bookends the drama.

“Leaving on the 15th Spring” is a film that focusses on a particular community with a somewhat peculiar problem, that of young people needing to leave the island in their 15th year. However, it provides the perfect backdrop for a coming-of-age drama with relatable themes. Chief amongst these is the desire for independence clashing with a sense of familial responsibility. Yuna is excited to leave the small island, but fears cutting the ties with her father and sister. The distance between Minami Daito and the main island is emphasised in the relationship between Toshiharu and Akemi, whose relationship is of equal importance in the story. It brings to life the fragility of human connection, something we also see in Mina’s relationship with Mei’s father, which is also troubled. The distance between people, both geographically and emotionally, is at the heart of the film. It also questions the nature and importance of responsibility to our ancestors or our culture. The islanders are protective of their traditions, shown in a brief political scene in which the community council debate their opposition to the TPP agreement. Yuna also feels the weight of obligation to her father and family, wondering how to balance this with her own wishes to leave. The farewell festival that Yuna performs at is a poignant mix of melancholy at what we leave behind when we become adults, and the hope that we carry forward with us.

Matt Cooper Films

The Complex (2013) by Hideo Nakata

Atsuko Maeda has restless spirits to contend with in this horror from “Ring” director Hideo Nakata. Asuka Ninomiya (Maeda) has just moved to a decrepit apartment block with her parents and younger brother, Satoshi (Ruiki Sato). The reclusive neighbour begins to take on a terrifying aspect when Asuka hears scratching on the other side of the wall at night. She also meets a lonely boy playing in a nearby park, named Minoru (Kanau Tanaka). Asuka’s strange experience grow even stranger as she begins to suffer from déjà vu and learns that the apartment may be haunted.

Director Hideo Nakata knows just how to build tension from the smallest incident. Everything from the flickering lightbulb outside the apartment and the scratching on the wall,, create a sense that something is slightly off. The script by Junya Kato and Ryuka Miyake blends traditional ghost house aesthetic, with the setting of an old rust-stained apartment block, and psychological terror as we are not sure what Asuka’s experiences really mean. There are moments in the film that are genuinely terrifying without the need for excessive gore or violence, the slow turn of a head, or the sudden cut to the following scene. The use of lighting and colour is also noteworthy, particularly in the later half as it is used more dramatically. This use of simple techniques, rather than the need for outrageous effects, helps the film develop natural scares. Unfortunately, this is undermined somewhat later in the film with a couple of moments that are almost parodic in their excessive attempts to shock. The story also devolves as things progress, beginning as an interesting ghost story with a psychological angle, it seems that too much is expected of it later on and it starts to break apart slightly. Mostly the plot-holes and weaknesses in the story are counterbalanced by the fantastic horror elements, which may not be original but are nevertheless handled expertly.

As with Nakata’s previous work “Dark Water”, “The Complex” breaks down the ghost story and attempts to weave through it something with emotional depth. Ideas of an afterlife and restless spirits are interwoven with themes of survivor guilt and regret. Similar to “Reincarnation” (2005) by Takashi Shimizu, the film becomes an exploration of Asuka’s psyche as she deals with the trauma of her past. The appearance of Minoru seems to be an element that is somewhat misplaced as his story doesn’t tie in exactly with either of the protagonists. It feels a little like a separate film has intruded, one about vengeful demons and infernal punishment. An intriguing horror that lacks a little of the depth of Nakata’s earlier works, but nevertheless delivers its fair share of chills.

Matt Cooper Films

Juho 2405 (2013) by Toichiro Ruto

A newscaster begins to see horrifying waking nightmares involving a young girl in this psychological horror. Reika (Yuka Masuda) is troubled by visions of various crimes she is reporting on, seeing the figure of a mysterious ghost appearing at each scene. Following a complete breakdown she is admitted to hospital where she meets a young girl Akane, who appears to be connected to these cases. Reika becomes unable to distinguish what is real as she starts to remember a tragedy that happened 10 years before.

“Juho 2045”, based on a story by Tomokazu Yamada with a screenplay by Erika Tanaka, follows many familiar horror tropes: a vengeful spirit, a mysterious past, and a protagonist with a slowly deteriorating psyche. The acting is melodramatic and the story predictable, but there are things to enjoy here. From the start there are some stunning visuals and solid special effects. It does a good job of creating an eerie atmosphere. It doesn’t take too long to unravel the central mystery, but with the added psychological elements there are a few surprises along the way. The chilling score by Ken Matsubara (G@me) also ramps up the tension, despite the inclusion of an ill-fitting pop song partway through.

The film leans on several popular themes, such as suicide, pregnancy, revenge and the horrors of the past coming back. It adds an interesting angle to the traditional ghost story in the claim that young spirits are less likely to act morally or logically, their sense of right and wrong being underdeveloped. This may however be a poor attempt to explain away the film’s lack of a logical plot. The story could have benefitted from more character development of Sachiko, the child’s mother, with her story not covered in too much detail. Also, the film sets up an interesting premise with Reika as a newscaster, ideas of the media perhaps pushing people to suicide, or the representation of crimes and tragedies in the news, being an angle that is not pursued in enough detail. Overall, “Juho 2405” is an entertaining horror, with strong visuals and a fun psychological element, but it could have done more with its themes and characters.

Matt Cooper Films

Airport 2013 (2013) by Koki Mitani

When there is a transfer flight delay, a put-upon ground staff worker at a small town airport has to deal with a family that has plenty of problems of their own. We meet Okouchi (Yuko Takeuchi) as her manager, Muraki (Masahiro Komoto), is explaining that bad weather means a connecting flight from Saga to Tokyo will be delayed at their small airport in Matsumoto. This manager also makes her a marriage proposal, an offer Okouchi is reluctant to accept due to a previous failed office romance. The arrivals from the Saga flight include a family led by Tanokura (Teruyuki Kagawa), who is having an affair with a young dental hygenist, Yuri (Erika Toda), from Osaka. His wife, Miyoko (Misuzu Kanno), is courted by a man claiming to be an old schoolfriend, who later turns out to be a con-man named Kunikida (Joe Odagiri). Their daughter, Mayumi (Anna Ishibashi) has a secret relationship she is hoping to spring on them, while their son (Sosuke Ikematsu) seems desparate to return to Tokyo for an unknown reason. Tanokura’s brother-in-law Kuranosuke Tsuruhashi (Katsuhisa Namase) is also seeking for funding for his dreams of building a planetarium. And their grandfather (Toshiki Ayata) has a secret of his own. Okouchi does her best to help them out, offering advice and assistance, supported by her own friend who works at the information desk.

This made-for-television film, written and directed by Koki Mitani, is a fantastically plotted and acted farce. The whole film takes place within the small airport set and is shot in a single take. This gives things a theatrical feel and the lack of cuts makes you appreciate the skill of the actors staying in character throughout. The camera largely follows Okouchi from one area of the airport to another, occasionally drifting away to focus on other characters, which helps break up the film into scenes even as a single long take. The humour is fairly broad, mostly revolving around relationship troubles or odd characters, such as the con-man or Kuranosuke’s obsession with raising money to build a planetarium. The film also has several running gags, adding layers of absurdity as things progress, building to a chaotic climax as secrets begin tumbling out. The actors all give fantastic performances. Yuko Takeuchi’s Okouchi is a likeable and relatable employee, having to maintain a veneer of respect and politeness while facing unbelievable situations and characters. Her comedic performance is helped by the supporting cast, including some incredible actors giving excellent comic performances, each given a moment to shine. For the most part the characters really only have one joke each, but the interplay between them and the way they all come together at this singular inconvenient moment provides plenty of humour. The airport set, including small background details give a real sense of place, the bustle of extras helping bring that strange airport atmosphere of people drifting around to life. The music by Kiyoko Ogino, a bouncy piano score, reflects the light-hearted tone of the comedy-drama, allowing you to relax and realise that nothing here should be taken too seriously.

“Airport 2013” focusses on familial and romantic relationships and the secrets that often hold them together. Each of the characters has a dream or a secret. Okouchi acts almost as a conscience for the characters, encouraging, warning, helping, or hindering where necessary. The thrill of watching a ‘live’ performance in the single-take style adds an element of fun to things and it is great to see such a talented cast brought together. The humour is universal and suitable for all ages. An entertaining watch about the stresses of trying to keep things together under difficult circumstances, and the secrets that families keep from one another.

Matt Cooper Films

Be My Baby (2013) by Hitoshi One

The complicated world of dating and relationships is put under the microscope in this emotional drama. Koji (Kenta Niikura) and his girlfriend Tomoko (Naoko Wakai) have invited a group of friends to their apartment: Koji’s friend Yuta (Takumi Matsuzawa) and Yuta’s room-mate Takashi (Daisuke Sawamura); Koji’s brother Naoki (Yuki Ueda) and his girlfriend Satomi (Aya Kunitake) are the next to arrive, followed by Tomoko’s friends Kaori (Chihiro Shibata) and Yuka (Yumi Goto). The reason for their gathering is to introduce Yuka to Koji’s friend Osamu (Kenta Tsumuraya). Far from being a kind gesture, it underlines Koji’s cruel streak as he wants to set his friend up with someone he sees as unattractive as a joke. This casual get together gives us an insight into the various interpersonal relationships, with joking, sexual tension, gossiping and arguments breaking out. Following the party the film follows each of these individuals as their lives are variously tangled together in sexual and romantic relationships, showing the tribulations of love, lust and life.

From the opening moments the film does an incredible job of bringing you into the lives of these young adults, with believable dialogue and each actor fully embracing their role. Every scene is set in one of the character’s apartments with usually no more than three people involved. This gives everything a very personal and immediate feel. The rooms are cocoon-like spaces, crammed full of clothes, posters of pin-ups, takeaway wrappers, and other indications of each character’s tastes and personality. The set decoration and costumes bring as much to our understanding of the character dynamics as the performances, with some fun story hints if you are paying attention. Hitoshi One’s direction utilises cramped framing, blocking, close-ups and a low camera position to bring us down to the level of the characters. The hand-held camera work furthers this sense of a voyeuristic fly-on-the-wall feel. The film is based on a stage production, which the actors watched before filming, and it makes a comfortable transition to film. Largely dialogue driven, with a script by Daisuke Miura, the actors workshopped their scenes and it shows in the naturalistic style and chemistry between them. The film is structured as a series of conversations that manage to convey a full sense of who they are while driving the various plots of their twisted love lives forward. They are a motley assortment who display a wide gamut of positive and negative traits associated with their age group: jealousy, lust, selfishness and arrogance alongside loyalty, forgiveness, and friendship.

“Be My Baby” is a great example of a film that is driven entirely by the characters and their decisions. The themes and behaviours of the protagonists are relatable although it may be hard to admit in the case of the more reprehensible behaviours they display. They are often unlikeable, holding a mirror up to the worst aspects of human behaviour, such as bullying, arrogance, cheating and disrespecting their partners. The film examines the difficulties of human relationships, looking at the various power dynamics between men and women and how people can be their own worst enemy. By isolating different couples from any outside world we get a unique look at how they act in each particular role, either friend, family or lover, giving the audience a deep understanding of them as a sexual or romantic being. By setting everything in these intimate spaces, we are given a look into their private lives, and see them at their most vulnerable and most exposed. Partners are often the people who we show our best and worst to and that is brought to the fore in this film. Very much a stage play brought to screen, with a sharp, incisive script and realistic, relatable, performances.