Matt Cooper Films

Red Snow (2019) by Sayaka Kai

Shogo Kodachi (Arata Iura) is a reporter who travels to a remote town to investigate the circumstances of a disappearance of a young boy over thirty years ago. Although the police believe they know what happened to the boy, the woman who was arrested never admitted to his kidnapping and murder. The reporter meets with Kazuki (Masatoshi Nagase), the brother of the murdered child, whose memories of his brother’s disappearance seem to be partial and distorted. Shogo also meets with Sayuri (Nahana), the daughter of the woman accused of the kidnap and murder thirty years before.

“Red Snow” is a unique crime drama, less concerned with the details of the case than the subsequent impact such an event has on the relations of the victims and the murderer. The crime is in fact solved early on, it is clear that the boy was kidnapped and killed, but many people either refuse to admit what happened or have misremembered details about the case and their experiences. The setting, with falling snow and an iron grey sea, create a cold atmosphere that is reflected in the stony silence of those the reporter interviews. The cinematography by Futa Takagi gives the world a gritty, noir feel, with the chill of the wind and the darkening skies creating an oppressive atmosphere in which the drama unfolds. The soundtrack of natural sounds and breathy woodwind is likewise harsh and disturbing. This is the first film from writer/ director Sayaka Kai but it is an impressive debut and shows a prodigious talent for storytelling. The small cast make for a taut thriller that keeps you guessing at the exact details of the case. Many of the characters operated in a grey area of morality, their history and motives obscured, but their carefully constructed characters remain fascinating whether relatable or repulsive.

The film takes an unusual form for a crime drama, with the crime already solved before the film begins. The incredible central performances mean we are brought into the world and psychology of those who survived the horrific events of thirty years before. It is a story about the difficulty of memory and how people can supress traumatic moments from their past. Both Kazuki and Nahana are victims in their own ways and the film shows how people and society are often all to quick to forget things they would rather not remember.

Matt Cooper Films

Another World (2019) by Junji Sakamoto

A trio of high-school friends are reunited when Eisuke (Hiroki Hasegawa), who has been posted with the Self Defence Forces, returns to their small home town. Koh (Goro Inagaki) is trying to make a living making charcoal, carrying on his father’s business, ignorant of his sons struggles with bullying, while Mitsuhiko (Kiyohiko Shibukawa) works with his own father at a second-hand car business.

Written and directed by Junji Sakamoto, “Another World” is an intimate portrait of a trio of men who have lost their way. An excellent central cast create a believable friendship between the three men who have drifted apart since their high-school days and are struggling to find purpose in their lives. There are also solid performances from all of the supporting cast, particularly Chizuru Ikewaki as Koh’s wife Hatsuno and Rairu Sugita as his son, Akira. The film’s story, for what it is, is a little meandering, largely concerned with showing how the characters relate to each other. There are a number of good scenes, between Koh and his son for example, or the three friends drinking together by the beach for old time’s sake. It shows what life is like in a small town and the difficulties of living there. Two of the friends have never moved away and seem to be trapped, one day much like the next and nothing to do but work and drink. As one of them says, he has never really taken any decisions for himself, taking on his father’s business and marrying someone after they became pregnant.

“Another World” is about the importance of friendship, while at the same time showing the need to find your own way in the world. The three characters are referred to as a triangle, each one supporting the other. The three are isolated in their own worlds, and only when they are together do we see the spark of something more in their lives. Without other people to support you, life can be difficult and meaningless. In the character of Koh, we see a man who is trapped by obligation, carrying on his father’s business partly out of spite at the way he was treated as a child. Eisuke seems to be suffering from PTSD following his experiences in the army, something his friends are unaware of, while Mitsuhiko (the most upbeat) is also dealing with his alcoholic father and running the family business. The film is a difficult watch, slow paced at times, but with some standout moments and performances it will appeal to fans of solid character-driven dramas.

Matt Cooper Films

My Father, the Bride (2019) by Momoko Fukuda

Toka (Honoka Matsumoto) travels home for the anniversary of her mother’s death. She is shocked to see her father Seiji (Itsuji Itao) in her mother’s dress, and more shocked to discover he plans to remarry with a man named Kazuo (Kenta Hamano) who he is living with. Kazuo also has a teenage daughter, Dari (Serena Motola) whose friend Taki (Yugo Mikawa) is dealing with his own issues of identity. Toka slowly grows to an understanding of her father and acceptance of his decision.

Written and directed by Momoko Fukuda, “My Father, the Bride” is a film about family relationships, particularly that between Toka and her father. The film is also about gender and sexuality, although it is chaste in its depiction of the relationship between Seiji and Kazuo. Honoka Matsumoto’s performance as Toka is great, showing her discomfort at what she discovers when she returns home and her growing acceptance of her father. The story of Daria and Taki also offers a great subplot, reflecting the same struggles for a younger generation, and Serena Motola and Yugo Mikawa offer some of the most emotionally charged moments and an excellent chemistry as firm high-school friends. Yugo Mikawa’s performance is one of the highlights of the film. The music, light jazz horn and piano and breathy flutes, and the cinematography of their beautiful island home all goes towards creating a comfortable feel. There is little real conflict or tension in the film, as with many stories on the subject of sexuality in Japan it prefers a softly-softly approach to its theme. The film uses the family dinner table as a main stage (the Japanese title “Delicious Family” gives an indication of the importance of food in the story). We see characters variously arranged around the table in relation to their situations, with Toka often sat across from her father, but later in the film sitting side by side as they make food together.

The film has a clear message about accepting gender differences. The relationship between Seiji and Kazuo seems a little underdeveloped. Perhaps this is to be expected as it is Toka’s story and told from her perspective. The audiences lack of knowledge about their relationship is perhaps intended to mirror that of our protagonist who has arrived in medias res. In contrast Taki’s journey is a powerful and necessary depiction of the struggles of young people coming to terms with their sexuality. The film is full of heart with some great comedic moments from Honoka Matsumoto and a standout performance by Yugo Mikawa. It rarely subverts expectations on a narrative level, but its charm shines through and it is an enjoyable family drama.

Matt Cooper Films

jam (2018) by Sabu

A blackly comic tale with three interconnected stories taking place over a single day. Enka singer Hiroshi (Sho Aoyagi) is kidnapped by a superfan, who forces him to record a new song for her; recently released from prison, Tetsuo (Nobuyuki Suzuki) is on a vengeful mission, attacked by the former gang members who left him to the police, while taking care of his ailing mother; and Takeru (Keita Machida) is a man who is attempting to do three good deeds a day in hopes that this will mean his comatose girlfriend recovers.

The film is very funny, though often with a dark twist, with kidnapping and violent street fights. All three of the stories are given time to develop and the way that they interconnect is interesting. The film begins with a sequence in which a man is driving an injured woman in a car, creating an instant sense of mystery. It later loops back to this same scene, now with the audience understanding who the characters are and the circumstances leading to this juncture. Much of the film takes place at night with characters wandering the city streets, and the cinematography does a great job of capturing the murky, dimly lit city. With three stories woven together the film has a good rhythm, intercutting between them and flowing from one to another. The script is written to create mystery about the characters and it gives the audience a chance to guess at what might have happened before given an explanation. In the story of Tetsuo the film is almost a straightforward crime action revenge film, while Hiroshi seems to be living in a black comedy, and Takeru a tragic relationship drama. The actors are do a good job with their characters, fully believable even in unbelievable situations. The various tones of each section should not work, but somehow they coalesce into something like a tableaux of warts-and-all modern life.

“jam” is a film about the interconnectedness of human experience and how ones actions impact on others. The three characters can be roughly categorises as good, bad and neutral, and there are explicit references to ideas of karma and fate. The world is populated by people with varying motivations and understandings of the world and their place in it. This is typified particularly by the Enka singer, whose fans seem to draw a deep meaning from the songs, while he has no real interest in the song order or their significance. It is about how society functions with so many diverse people, how they clash or work together, how good intentions can lead to bad outcomes, and every action has consequences. An enjoyable film that brings together three disparate characters and plots in a unique way.

Matt Cooper Films

Fly me to the Saitama (2019) by Hideki Takeuchi)

Manami (Haruka Shimazaki) is on her way from Saitama to Tokyo for her wedding. Her parents (Brother Tom and Kumiko Aso) turn on the radio in the car for the long journey and are tuned into a radio drama telling the urban legend of the history of Saitama and Tokyo’s long struggles. The radio play takes us back to a time when Saitamese were subjected to various mistreatments and discriminations at the hands of the Tokyoites, discriminating against those from other prefectures. Rei (Gackt) attempts to fight this injustice and create an equal society where Saitamese are treated the same as people from Tokyo, while the head of a prestigious Tokyo University, Momomi (Fumi Nikaido) is determined to maintain the status quo. The fight for acceptance will also lead the people of Saitama into conflict with their other major rival, the citizens of Chiba Prefecture.

“Fly me to the Saitama” is an outrageous comedy based on the ridiculous premise of a fantasy war between Saitama and Tokyo. It throws so much at this surreal story, including influences from various genres. We see everything from Tokyo university students dressed in renaissance period clothing, science-fiction dressed police officers with rayguns, Edo-period costumes, even dinosaurs. The film will do just about anything for a joke, with funny costumes, scenarios, wordplay, and visual gags. Much of the comedy relies heavily on local stereotypes, though the comedy is so broad that almost all audiences will find something to enjoy, the more people know about these places, the more funny they are likely to find it. The actors do a great job, with Fumi Nikaido and Gackt playing their roles perfectly straight-faced despite the madness around them. The film is directed by Hideki Takeuchi, based on the manga by Mineo Maya, and with a screenplay by Yuichi Tokunaga. The script and performances are ironically a celebration of the creativity and good humour of everyone involved, showing an ability to laugh at themselves.

The film is a broad comedy, taking themes of discrimination and prejudice and showing them to be utterly ridiculous. It allows people to laugh at local stereotypes in the confidence that they are so outrageous that they are never cruel. The finale of the film has a simple yet poignant message of bridging divides between people and not allowing ourselves to be separated by self-imposed borders. A hugely enjoyable film that puts everything into finding the humour in how people look at each other and themselves.