Matt Cooper Films

Call Me Chihiro (2023) by Rikiya Imaizumi

Chihiro (Kasumi Arimura) is a former sex-worker now employed at a street bento shop, where her previous profession makes her popular with their male clients. Being estranged from her own family, Chihiro’s upbeat demeanour leads to a series of friendships with people she meets. Firstly, an elderly homeless man whom she rescues from gang of children; a young boy Makoto (Tetta Shimada), whose single-mother is rarely home to care for him; Okaji (Hana Toyoshima), a schoolgirl who finds her formal family life stultifying and unsatisfactory. Chihiro’s older friendships include her surrogate mother Tae (Jun Fubuki), the blind wife of the bento shop owner who she is visiting in hospital; Basil (Van), a singer at a show pub; and her former boss (Lily Franky). Through these connections, Chihiro discovers the value of friendship and the true meaning of family.

Based on a manga by Hiroyuki Yasuda, “Call Me Chihiro” is a quiet character study of several lonely individuals, who stitch together for themselves a surrogate family, bound by their mutual feelings of isolation or abandonment. The cast do a wonderful job bringing these characters to life, with their nuanced stories all brought together by the central theme of loneliness. Kasumi Arimura’s Chihiro is burdened by her estrangement from her family, and unknown difficulties in her past, but putting a brave face on it. Her charisma masks a deep sadness and Arimura’s performance perfectly captures this shimmering surface hiding darker truths. The supporting cast are all exceptional, and a sequence late in the film when they enjoy a rooftop meal together brings home the extent to which they manage to build up genuine connection with each other and the audience. Rikiya Imaizumi’s relaxed direction, often framing the dialogues simply and allowing the actors to perform without distraction, helps build a sense of realism and emotional realism. The script grows organically from the interactions between the characters, slowly pulling together their stories and the similarities between them becoming evident as things progress. We don’t discover much about Chihiro’s past life, aside from a tense phone call with her brother regarding their mother’s death and a few flashbacks; similarly the script and performances succeed in giving lots of information about the characters without explicitly stating it (one example of this is in Okaji’s family dinner scenes, which show the relationships and attitudes of every member of the family through an everyday situation).

“Call Me Chihiro” explores the idea of social isolation, with many characters commenting on Chihiro’s loneliness. Despite her apparently being personable and making friends easily, she remains distant from those around her, struggling to make genuine connections. Food plays an important part in the film as a symbol of affection. Makoto’s hunger when he is locked out of his apartment; Okaji’s emotionless family meals; Chihiro’s enjoyment of solitary meals, all take on a deeper significance when considering the character’s need for love or lack of it. This link between food and love is well done, connecting together several of the stories without being an overly forced metaphor. The film also raises the idea of individuals as permanently isolated, suggesting that humans are aliens from diverse planets inhabiting similar physical forms. Only those lucky enough to find a soul from the same planet are able to find true companionship, with the rest doomed to live out a life in which they are never fully able to relate to others. You can choose your friends, but you can’t choose your family, is the central premise of the film, with Chihiro finally accepting her assumed name over her birth name Aya Furusawa, symbolising her determination to be the person she wants to be and to seek out meaningful relationships rather than societally obligated ones.

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

Under the Stars (2020) by Tatsushi Omori

A young girl begins to question her parents belief in an unusual cult in this examination of faith and family. As Chihiro Hayashi suffered with terrible exczma as an infant, her father was recommended a miracle water, apparently imbued with cosmic energy. When they rub this on Chihiro she is cured of her painful skin condition. Now at primary school, Chihiro (Mana Ashida) and her parents are still part of this cult, drinking the ‘blessed’ water provided by the organization daily, while her parents are further involved in odd rituals of dousing themselves in water, and buying various products from the sect. Chihiro’s older sister (Aju Makita) is sceptical, refusing to completely follow their rules, and eventually distancing herself from them. However, despite the teasing of her friend Nabe (Ninon), and the concerns of her uncle Yuzo (Kohei Otomo), Chihiro is reluctant to leave her parents.

Based on the book by Natsuko Imamura, with a screenplay by director Tatsushi Omori, “Under the Stars” is a touching coming-of-age drama about an often overlooked problem: that of children growing up in religious households, unable to reject their parents beliefs. While Chihiro’s parents are not violent or abusive, in fact they are shown as loving and kind towards their daughter, they believe in a nonsensical placebo: something that is ridiculed by many around Chihiro. While their behaviour is bizarre to the audience, it appears perfectly natural to Chihiro, who has grown up surrounded by these beliefs. Mana Ashida gives a great performance as the young Chihiro, dealing with regular schoolgirl issues such as a crush on her teacher Minami (Masaki Okada) as well as the conflict between her parents, friends and extended family. She is well-adjusted in spite of her parents asking her to do strange things, such as wearing a pair of glasses to alter the way she sees the world; or drinking the expensive bottles of water in order to prevent illness. Masatoshi Nagase and Tomoyo Harada are also excellent as her loving yet misguided parents, playing straight-faced their adherence to the cult’s practices. They are sympathetic figures, especially as their entry to the cult was prompted by their daughter’s illness and seems well-intentioned in attempting to prevent harm to her and others. Chihiro is caught between two worlds, exemplified by her school friend Nabe, and Sanae (Ai Mikami), another child brought up in the cult. The film avoids sentimentality, with most of the responses to Chihiro’s family being confusion or mild amusement. Chihiro’s uncle Yuzo’s attempts to break them out of this mindset is one of the more emotionally raw moments, showing his distress at what has happened to his sister’s family.

“Under the Stars” ends on an ambiguous note, showing the ludicrous fiction that Chihiro’s parents are living, yet at the same time making clear their love for their daughter. This echoes the film’s central theme that good people can be easily manipulated by these groups. Minami teaches mathematics and science, suggesting that Chihiro is stuck between worlds of fact and fantasy, reality and religion. Having being misinformed her entire life, and slowly seeing the truth, she nevertheless clings to her parents and wants to please them. The film sheds light on the practice of cults making money off credulous and well-meaning individuals, while depicting the positive and negative aspects of piety, in Chihiro’s bond with her parents and their adherence to the organization. A powerful film about the tragedy of growing up in a cult, and the strength of human relationships and religious convictions.

Matt Cooper Anime, Films

Summer Wars (2009) by Mamoru Hosoda

OZ is a virtual online world where friends can gather and companies do business; connecting the global population in a vast virtual playground. As well as this it is also used for businesses, governments and other officials, forming a vital part of every aspect of human life. Kenji (Ryunosuke Kamiki) is a high-school maths whizz (almost national champion at the maths Olympics) working as a low level system engineer on the site, when he is offered an unusual summer job by an attractive older girl, Natsuki (Nanami Sakuraba): to come home with her for the holidays. When he arrives at her home, he finds that he is to pretend to be her boyfriend for the duration of the trip, to please Natsuki’s ailing grandmother (Sumiko Fuji). Soon Natsuki’s whole family has arrived at the house, including the suspicious Wabisuke (Ayumu Saito) who left years before for America. While Kenji struggles to maintain his cover and befriend the numerous aunts, uncles and cousins, OZ is attacked. This act of cyber-terrorism has far-reaching consequences as industry computers go haywire and satellites are set on a collision course for earth. Kenji and the family around him must work together to prevent a global catastrophe.

Directed by Mamoru Hosoda from a screenplay by Satoko Okudera (the two also worked together on “The Girl Who Leapt Through Time”, “Summer Wars” is an exciting blend of family drama and technological thriller, moving from scenes of the family at dinner to the virtual world of OZ, where avatars such as the semi-legendary King Kazuma, do battle. There is a lot of heart and comedy in the film, derived from situation and character rather than cheap gags, that makes you feel a strong connection with Natsuki’s family. Kenji is also a fun protagonist, completely out of his depth in social situations, but extremely competent with maths and computers. It is impressive to see such a large family portrayed and while we are not given much information about the members, the group scenes give a sense of the chaos of such gatherings, with them speaking over each other and numerous things going on around the table. The story throws in a lot of elements, and with this cast of characters it’s hard to get bored. OZ is an interesting portrayal of an online space, a sparse clean look populated by a variety of different avatars, although the actual workings of it are somewhat fantastical. The animation overall is excellent, with expressive character design and a detailed world. Akihiko Matsumoto’s score is entertaining, with a traditional countryside feel to the rural family home shifting to distinct digitalised tune for the online world.

“Summer Wars” offers an interesting take on the idea of a metaverse, a secondary online world which mimics and has become an integral part of human society. It points out the danger of putting everything in one space like this, with even the police and fire service working through the OZ system. The film’s central message concerns communication both online and offline, drawing a comparison between the online characters who can communicate in every language on the planet, and the more traditional family gathering. The primary importance of communication to human relations is a theme that the film drives home. The grandmother is able to rally numerous people to their cause through family and acquaintances, using the phone; while Natsuki is later supported by a large online community. The technology is simply a conduit for human connection, and should not be seen as a replacement for it. The central village being an AI also speaks to this idea that humanity must always remember themselves and what is important, rather than allowing technology to change our attitudes towards one another. If there is one complaint about the film it is that Kenji and Natsuki’s relationship is not really touched on much throughout, but there is so much going on that it is hardly surprising. An entertaining film that brings up a lot of ideas about how humans will relate to each other in online spaces and a warning not to forget that it is communication that builds strong societies.

Matt Cooper Films

My Little Sweet Pea (2013) by Keisuke Yoshida

Mugiko Koiwa (Maki Horikita) and her brother Norio (Ryuhei Matsuda) are surprised when their mother Saiko (Yo Kimiko), who left them years before, suddenly reappears in their life hoping to rebuild their strained relationship. Following a short illness, Saiko dies and Mugiko has to travel to her hometown to complete the burial procedure. While there Mugiko meets a number of people who knew Saiko and comes to reassess her mother and their relationship.

“My Little Sweet Pea” is a heartwarming and poignant family drama. Directed by Keisuke Yoshida from a screenply by Yoshida and Ryo Nishihara, the film looks at the relationship between a daughter and her estranged mother. At times the story feels a little uneven, beginning with Mugiko arriving at her mother’s hometown with her ashes and telling the first part in flashback, before later returning to the present and Mugiko’s interactions with the townsfolk, including Michiru (Yumi Aso) who offers her a place to stay. Where the film does excel is in its characters. Maki Horikita gives a moving performance as a young woman who feels let down by her mother, but who later comes to an understanding and even appreciation of her. Her frustration at her mother’s reappearance, unwittingly destroying her comic books and interrupting her anime viewing, will be familiar annoyances to many viewers. Acting as the perfect foil to her are Yo Kimiko as a mother awkwardly trying to make amends with her daughter, and Yumi Aso who acts as a surrogate parent to Mugiko and allows her to express herself indirectly to her deceased mother. Some of the most powerful scenes, at the crematorium and the graveyard, are devastating to watch, with a palpable sense of loss. The sense of community in this small rural town also comes across well in the film. Despite some difficult themes the film also has a lot of humour, such as the dangerously distracted taxi driver who knocks down a policeman near the beginning.

A film about a daughter coming to terms with the loss of her mother and reassessing their relationship. There is a believable tragedy in the fact that Mugiko never really knew her mother and therefore feels no desire to engage with her when they are reunited. Mugiko and Norio have both moved on, Norio perhaps more hurt than Mugiko, who has less of a memory of her mother. The message of the film is that children should cherish their parents, and try to forgive their mistakes, as it is too late to show affection when they are dead. We also see in the film the similarities between mother and daughter, with Mugiko dreaming of being a voice actor just as her mother dreamt of being an idol. An emotional and ultimately uplifting family film with some touching moments.