Night Light (2018) [Film Review]

Movies focusing on family issues tend to be either extremely serious in tone or, on the contrary, very light-hearted. It is quite rare to see a motion picture centring on the father-son relationship through the perspective of nature. Night Light directed and written by Kim Moo-young is such a film, and it deals with the difficult theme in an almost oneiric way.

Release Info

Directed by: Kim Moo Young Starring: Song Jae Ryong, Ji Dae Han, Jung Ah Mi

Language: Korean Original Title: 밤빛 Runtime: 108 min

Synopsis
Hee-tae (Song Jae Ryong) is an herb collector who finds out that he is terminally ill. Suddenly, he receives a letter from his ex-wife. The content of the letter remains unknown, but it definitely has an impact on Hee-tae. We see him living in the mountains, leading a spartanic lifestyle, and collecting herbs. Soon after, his son (Ji Dae Han) arrives for a visit. The estranged father and son try to get to know each other while being surrounded by nature. Each day, they collect herbs and climb the nearby mountain.

Night Light is basically a slow-paced story about the appreciation of life and the acceptance of our fate. In a manner similar to the Japanese New Wave of the 1960s, director Kim Moo Young unhurriedly guides the viewers through a simple story with huge mountains looming in the far background. If you like long shots of walking through a forest, drinking from a frozen pond, or just climbing, then you will definitely enjoy this film.

Cinematography helmed by Kim Bo Wram is simply breathtaking. Some of the mountain shots could be used for a National Geographic documentary. Unfortunately, the music score is virtually non-existent in the movie. Apart from the haunting ending sequence, no music accompanies the scenes, which is a shame because it may have improved the viewing experience.

With regard to performances, Song Jae Ryong as the main lead is the movie's definite highlight. He convincingly portrays a troubled man struggling with an illness. The role of Hee-tae's son was played quite well by young Ji Dae Han. An honourable mention goes to the veteran actress Jung Ah Mi who managed to mark her presence in the story with a small part.

Recommendations
I recommend Night Light to anyone who is interested in great visuals, subtle character interactions, and loose narration. It is simple, yet multi-layered, look at the intimacy between a parent and a child. Let's face it, we are all, sometimes, pondering about life in the middle of the night, just as Hee-tae does at the top of a mountain.

Disclaimer: This review is an edited re-release of a text composed for AMP in 2019.

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AMP Short Reviews (2019)

In today's update, allow me to make a jump to the past and highlight for you some of the short film reviews I wrote from AMP back in the year 2019. I am sharing these purely out of sentiment because even though the short film themselves may not be unavailable, it was an interesting experience for me writing these reviews.

1. How Can You Know Where to Go If You Do Not Know Where You Have Been (2018)

World War II is undoubtedly the most tragic global event of the 20th century. Apart from serving as the symbolic warning for future generations, it also became a source of inspiration for various representations in many cultural domains, including cinema. We all are probably familiar with the “war film” genre which encompasses action-adventure stories, anti-war manifestos, and tales of trauma. Mizuki Toriya's animation is none of these. Her short film How Can You Know Where to Go If You Do Not Know Where You Have Been serves as an intimate testimony of her grandmother about the difficult times when Japan engaged into war with the United States and Great Britain.
     The 6-minutes-long film is a recorded conversation between Toriya and her grandmother that is accompanied by paintings animated in a stop-motion fashion. The grandmother recounts from her personal perspective the beginning of the war, how she lived with her family in the city of Kobe, the subsequent destruction of Kobe, the family's life in the suburbs, and the arrival of the American forces after the war's official end.
     How Can You Know Where to Go If You Do Not Know Where You Have Been appears to be a deeply personal and delicate recounting of World War II experiences. Although the viewers may initially long for a more standard visual component (the video recording of the conversation), the animation actually enhances the viewing experience. The grandmother's tender voice combined with simple, yet eye-pleasing, paintings by Dean Aizawa are enough to get the viewers' attention.
     The message of the short film is quite clear: ordinary people do not make wars, but governments do. The grandmother rightfully remarks that peace is the best and no country should ever go to war. We, on the other hand, should learn from these rare testimonies of people who experienced the atrocities at first hand.
     Try to find some spare 6 minutes in your busy schedule and check out How Can You Know Where to Go If You Do Not Know Where You Have Been if you can. It is a peaceful story that will certainly leave you thinking about the past. Its importance is even heightened by the recently commemorated 80th anniversary of World War II's outbreak.

2. 15.7 KM (2018)

Getting to school is usually such a trivial activity that most parents and children do not pay major attention to it. However, there are some remote areas in the world where a child has to travel a significant amount of distance in order to receive the desired education. Rian Apriansyah's short film called 15.7 KM tackles this issues in an original way.
     The 15-minute-long story presents us with a young boy named Budi from Banka Isle in Indonesia. We observe how he prepares himself in the morning and eventually sets out on a long journey to school. In order not to damage his socks and shoes, he walks barefoot through forests and plains. After crossing a lake in a small boat, there is a slight chance that he may hitchhike. Ultimately, the boy arrives at his destination, puts on the socks and shoes, and begins his school day.
     The most striking aspect of the film is an almost complete lack of any dialogue, apart from occasional interjections uttered by the passers-by on Budi's route. In the style resembling that of Yasujirō Ozu, the film exposes the stillness and beauty of Indonesian nature which serves as the setting for Budi's repetitive journey. In order not to confuse the viewers about the compression of space within the 15-minute time span, a distance counter pops out once in a while.
     Even though there is not a lot of stuff happening in the film, director Rian Apriansyah provides a sensitive portrayal of an (in)visible problem, not only prevalent in Asia, which should be resolved in some way. Until then, Budi and many other children are forced to travel the way they do so that they could properly educate themselves.
     Towards the end of the film, one feels as if the story could have been continued. I strongly hope that there is a possibility for a full documentary feature. Maybe then the message about building standard education facilities for children would resonate more. To conclude, 15.7 KM is a very informative and eye-pleasing little film. We need more dialogue-free pictures in modern cinema.

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Hanalei Bay (2018) [Film Review]

Hanalei Bay; or, Silent Grieving
     Being forgetful isn’t the problem. Forgetting is the problem.
At the moment, I am making my way through the movie adaptations of Haruki Murakami’s novels for the purposes of my upcoming editorial. I thought it could be a idea to slow my pace and focus in greater detail on one particular movie, which is Daishi Matsunaga’s Hanalei Bay.
Release Info

Directed by: Daishi Matsunaga Starring: Yo Yoshida, Nijiro Murakami, Reo Sano

Language: Japanese Original Title: ハナレイ・ベイ Runtime: 96 min

Synopsis
Sachi (Yo Yoshida) receives a phone call informing her that her son died in Hawaii due to a shark attack. The woman arrives in Hanalei Bay to take care of formalities and retrieve the ashes of her son. Nevertheless, Sachi continues to come back to Hanalei Bay every year…

By the seaside
One could think that Murakami purposely came up with the theme of a mother losing her son to tell a sappy tale centered on grieving, but the mother figure is an extremely bitter and self-reliant person who helps out two noob teenagers from Japan.

Director Daishi Matsunaga recreates the main plot points a T, but the reserved camerawork, stoic atmosphere, and the striking performance by the legendary Yo Yoshida are the factors that make this particular adaptation stand out to me. The third act is especially captivating as the viewers see a clear difference between the difficult past of the main heroine and the present stillness of the titular bay.

I have to say that the mother in the film is not simply bitter. She processes her feelings towards her unruly late son while becoming the mother figure to two Japanese surfers. Undoubtedly, the most touching scene is the one in a skate park, and it is an original addition not penned by Murakami at all.

With regard to performances, Yo Yoshida undoubtedly carries the weight of the film on her shoulders. Nijiro Murakami does well in the supporting role as one of the young surfers in need. Reo Sano is quite memorable as the son, in spire of the limited screen time. I also appreciate the fact that there is a lot of dialogue in English. Some viewers voiced their concerns about the delivery of lines by Yo Yoshida, but I think she did it very well, definitely better than Satomi Ishihara in Shin Godzilla (2016).

Recommendations
If you are looking for a tranquil feature that will make you reconnect with the lyrical loneliness, then recommend Hanalei Bay. Unfortunately, the film is unavailable on streaming platforms at the moment. However, the movie is making rounds as part of many film festivals (that’s how I watched it originally), and there’s also a Japanese DVD edition out there.Overall score: 9/10

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Melancholic (2018) [Film Review]

Melancholic; or, The Bathhouse Job
     Let me ask you this. A Tokyo University graduate has to work at a big company and become happy?
The bathhouse setting appears frequently in Japanese movies. From Departures (2008) to Attamara Sento (2016), the significance of communal bath in Japanese culture is always emphasised. It is not only a place where one can take care of personal hygiene but also can experience physical proximity which, in theory, should influence emotional intimacy. Director Seiji Tanaka turns the symbolism of a bathhouse on its head in his outstanding debut feature called Melancholic (2018).

Release Info

Directed by: Seiji Tanaka Starring: Yoji Minagawa, Yoshitomo Isozaki, Mebuki Yoshida

Language: Japanese Original Title: メランコリック Runtime: 113 min

Synopsis
Kazuhiko Nabeoka (Yoji Minagawa) is a Tokyo University graduate who spends his days at home with parents. One day, he meets a high school colleague, Yuri (Mebuki Yoshida), at a local bathhouse. The girl, eager to see Kazuhiko more often, encourages him to apply for a job at the bathhouse. After an interview with the owner, Azuma (Makoto Hada), Kazuhiko gets the cleaning job together with another newcomer, Matsumoto (Yoshitomo Isozaki). Much to his surprise, Kazuhiko discovers that the bathhouse is used by the yakuza to execute people…

Stand By Me
The title of the film indeed reflects the personality of the main character. Kazuhiko is yet another by-product of the modern educational system, a person who does not know what to do in life. Consequently, director Seiji Tanaka turns Melancholic into a crazy coming-of-age tale in which a young man orientates himself towards a certain activity, yet this “activity” is actually cleaning the bathhouse from corpses.

The professional misadventures of Kazuhiko are yet another ingenious aspect of Melancholic. The dark comedy works extremely well and mixes effortlessly with the classic yakuza-centered thriller vibes. I really do not want to get into any spoilers, so let me say in the simplest terms possible that the film has major plot twists and really goes off the rails in the finale. Interestingly, even secondary characters receive strong character development in the third act!

With regard to performances, in my opinion, Yoji Minagawa did very well in the leading role, but the real star of the picture is Yoshitomo Isozaki as Matsumoto. He portrays his characters in an incredibly comic yet tragic manner. Additional shout out goes to the rest of the cast: Mebuki Yoshida as Kazuhiko’s quirky girlfriend, Makoto Hada as the stressed-out bathhouse owner, Yasuyuki Hamada as the mysterious Koreda, Masanobu Yata as the scary yakuza mobster, and (last but least) Stefanie Arianne as Angela, the mobster’s gaijin girl.

All things considered, I think it’s safe to conclude that the main theme of Melancholic is that of the everlasting generational conflict within Japanese society. Similarly to Masato Harada’s Kamikaze Taxi (1995) and SABU’s Postman Blues (1997), Melancholic also presents the viewers with a group of a young people who want to change their lives for the better, but the grumpy old-timers, who love the status quo, prevent them from doing so.

Recommendations
In spite of winning numerous awards at film festivals, including Best Director at Tokyo Film Festivals and Audience Award at Nippon Connection, I wish this movie could get greater exposure in the West. Thankfully, Third Window Films released Melancholic in dual format (Blu-Ray and DVD). Their region B edition includes a look at behind the scenes, Q&A with director and cast, Melancholic short film, and trailer. Overall score: 8/10

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In the Land of Lost Angels (2018) [Film Review]

In the Land of Lost Angels; or, Midnight Running
     I'm sticking my neck out for you. You ungrateful bitch. I'm not getting arrested because of your negligent Mongolian attitude. As a matter of fact, I am doing more than you. It is because of me your brother will get to live. Don't you forget that.
This week’s review is going to focus on something slightly different. Thanks to the generosity of director Bishrel Mashbat, I have been provided with a copy of In the Land of Lost Angels; arguably, the first Mongolian-American film. Needless to say, the tale about friends resorting to desperate measures pleasantly surprised me.

Release Info

Directed by: Bishrel Mashbat Starring: Erdenemunkh Tumursukh, Iveel Mashbat, Mike Cali, Uyanga Mashbat

Language: Mongolian, English Runtime: 90 min

Synopsis
Los Angeles, USA. Ankhaa (Erdenemunkh Tumursukh) and Orgil (Iveel Mashbat) are two Mongolian immigrants trying to get by in Western reality. When Ankhaa's little brother requires a costly treatment back home, they come up with a plan to make quick money: the kidnapping. The abduct Scott, the son (Mike Cali) of a wealthy businessman (Robert Corsini), and demand the payment of one million dollars. We follow seven days in the lives of Ankhaa and Orgil as they try to carry out their plan.

Day by Day
In the Land of Lost Angels, definitely has an arthouse/indie feel due to its low-key tone, simple story, and black-and-white colour palette. Initially, I was afraid of pacing issues, but thankfully the viewers are never hamfisted with some heavy-handed exposition or prolonged sequences that add nothing to the story. On the contrary, the drama of the characters unfolds in a step-by-step fashion: we see that having fears, doubts, and even remorse while safeguarding the kidnapee.

Essentially, the film feels like Akira Kurosawa’s High and Low (1963), but told through the perspective of the kidnappers. In view of such a cliched theme as holding someone hostage, you would think that there is no gravity to the plot line, yet In the Land of Lost Angels manages to provide a breath of fresh air with its subtlety and minimalistic approach. What is more, the film uniquely highlights the unpopular problems of diasporic communities in America.

With regard to performances, evidently tha main leads, Erdenemunkh Tumursukh and Iveel Mashbat, dominate the picture with their presence. It is interesting to watch the conversations between friends and how their personalities clashed while going over some sensitive matters. Another great addition to the movie was Mike Cali as a hostage-in-distress. Other actors and actresses, such as Robert Corsini or Uyanga Mashbat, appear in the film very sparingly and have very little dialogue.

In an interview, the director stated that his intention was to accurately present how the Mongolians look like, talk, behave, etc. Indeed, In the Land of Lost Angels is a unique viewing experience which provides a glimpse into a culture which is not frequently discussed in the mainstream culture.

Recommendations
If you are in the mood for a sensual drama about two men committing a bad deed in order to do a good one, then I recommend In the Land of Lost Angels. I did not regret spending 90 minutes with these characters. My thanks go to director Bishrel Mashbat for sharing the screener. You can check out the film on Amazon Prime.Overall score: 8/10

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Immigrant Experience and American Dreams: Interview with Bishrel Mashbat

 

When thinking about Mongolian films and artists, one can realise that such a topic is not extremely popular in mainstream culture. This does not mean; however, that this country does not have passionate filmmakers determined to communicate their voices to international audiences. For this interview, I sit down to talk with Bishrel Mashbat, the director of a 2018 movie In the Land of Lost Angels.

 

 

Is In the Land of Lost Angels your feature film debut? How did your career unfold prior to this movie?
Yes, it is my feature debut. Before this, I have spent many years editing documentaries and tv shows. I was doing various gigs really, anything I could get my hands on while trying to get a film made unsuccessfully.

 
How did the idea of making In the Land of Lost Angels come about?
Mainly I wanted to show Mongolians to the world. When I say I am Mongolian, most people have no clue of who we are. I wanted to show people how we looked, acted, walked, and talked like, albeit in a fiction setting. Furthermore, I wanted to make an Asian American film that is tonally different than what was out there. Lighthearted, comedic, or melodramatic films tend to dominate most Asian American Cinema. I wanted our film to feel different on a granular level. I wanted it to have a different texture.

 

 

The movie evidently deals with a popular theme of kidnapping. Did you draw inspirations from other popular films with similar story patterns, such as High and Low (1963) or Ransom (1996)?
Nope. I am not sure if I watched them before. Although our film deals with the topic of kidnapping, it meant something different to me, at least. One could also approach the kidnapping from an allegorical angle. 

 
I noticed on the cast and crew listing that a couple of actors share your surname. Could you tell us a bit more about the casting process?
My brother, Iveel Mashbat, plays Orgil's character. There are not a lot of Mongolian American actors out there, so pragmaticism might have played a role there. He also was a child actor, so the roots were there. My wife also appears briefly in the film.

 

 

How did you get American actors on board?
Most of them are my personal friends and fellow filmmakers. However, to answer your question directly: it took a lot of beers.

 
Have you been in any way inspired by Mongolian artists while making In the Land of Lost Angels?
Not particularly. Maybe rap artists. I used to drive a lot at night while writing the script, blasting Mongolian rap music in my car.

 

 

What was the reaction of the Mongolian diaspora in America upon seeing the movie?
Mongolian Americans responded very well. They have been championing this project since its inception. If they read this, I would like to thank every one of them.

 
Do you have any piece of advice for aspiring filmmakers from minority communities?
Being someone from a minority community, one might feel like they have a tougher hill to climb, but the flip side is that you bring a unique point-of-view and life experience. That will set you apart. Write what you know. Write a lot.

 

 

What are your future plans? Are you already working on a new motion picture?
Right before this crazy pandemic happened, I was filming my second feature. I was lucky enough to have my footage in the can before the lockdown happened. Consequently, I have spent most of the lockdown working on the post of my second film titled Beloved.

 
If you are interested in Bishrel's work, please refer to his official website. In the Last of Lost Angels can be viewed on Amazon Prime. Thank you for reading!

 

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Lady Detective Shadow (2018) [Film Review]

Lady Detective Shadow; or, The Royal Constable
     Wrong! I’m Sima Feiyan. My friends in Jianghu gave me the name Ghost’s Sorrow.
Lady Detective Shadow is a 2018 Chinese production directed by Si Shu-bu and produced by Bey Logan and James Nan. It is a well-made Wushu flick with Shang Rong as the female lead.

Release Info

Directed by: Si Shu-bu Starring: Shang Rong, Zhang Ren-bo

Language: Mandarin Runtime: 90 min

Synopsis

Ancient China is torn between imperial dynasties and rough scoundrels. When a series of gruesome murders takes place in a remote desert area, the courageous Lady Detective Shadow (Shang Rong), who bears the title of the Royal Constable, is called to the scene. With her extraordinary deduction skills and martial arts, she tracks down the murderers. Little does she know, however, that there is a huge hunt going on for a lost treasure…

Shadow of the Night
The movie opens with a beautiful animation which provides the much-needed exposition: these are the times of lawlessness and Lady Detective Shadow is send to clean up the town. The main heroine feels like an amalgam of Sherlock Holmes and Detective Dee due to her outstanding wisdom, memory, and fight skills.

The undeniable advantage of the film is production design and well choreographed action sequences which really give the picture that classic Wushu feels. Even though Lady Detective Shadow was made on a tight budget (evident use of CGI in certain outdoor scenes), it certainly feels like an homage to good old Shaw Brothers productions.

The story itself is a classic morality tale which turns the third act into Raiders of the Lost Ark (1981). Apart from evident Indiana Jones feels, the narrative is more akin to Crouching Tiger, Hidden Dragon with its pacing and subtlety. Of course, Wushu films are not for everyone. If you can’t stand the slow pace, then it is better to give this film a pass.

Speaking about performances, I’m surprised at how much I liked Shang Rong as the main heroine. A sequel has to be made just because of her performance. Ideally, it would have been awesome to see a crossover in which Lady Detective Shadow meets Detective Dee.

Recommendations
If you are into a martial-arts adventure story, then give Lady Detective Shadow a chance. It is an entertaining flick that harkens back to old Chinese period pieces. My thanks go to TriCoast Studios for sharing the screener. They released the film under their DarkCoast label. See the trailer below: Overall score: 7/10

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The Dark Soul (2018) [Film Review]

The Dark Soul (2018); or, In Search of…
     This is not some American town. It’s Asia. An Asian guy looking for another Asian guy in Asian city, that’s one thing. If I walk the streets with some big American, people are going to start talking about me, not to me.
The Dark Soul is one of the latest filmmaking endeavors from director Bey Logan and producer James Nan. A low-key mystery drama with action elements may initially seem to a boring story, but it surprisingly turns out to be a pleasant viewing experience.

Release Info

Directed by: Bey Logan Starring: Kevin Brewerton, Lang-Xing Ye, Connie Song, Bianca Stam

Language: English, Mandarin Runtime: 90 min

Synopsis
An American man called Chandler (Kevin Brewerton) arrives in China in order to find a missing person. A police officials sends him to a local contact, Dickson Lee (Lang-Xing Ye), who is supposedly an expert in such cases. The partners with contrasting dynamics have to find their way through the brutal world of an international crime syndicate. In order to catch the bad guys, they must unravel the mystery connected with independent medical facilities in China.

The Chinese Connection
The Dark Soul plays on the familiar theme of “fish out of water” which was present in The Way of the Dragon as well as A Rumble in the Bronx. However, the situation is reversed this time and we get to see a Westerner trying to get a grip in the Orient.

Intriguing storyline and nicely choreographed fight sequences directly point that this movie may be a decent Jason Statham vehicle; nevertheless, the main leads: Kevin Brewerton and Lang-Xing Ye do a great job.

The story might be confusing at first (a foreigner is looking for a Chinese guy he has never met before), but things become clearer more or less halfway through the picture. I have to admit that the plot twist reminded me a bit about Jun’ya Sato’s classic thriller from 1976 Manhunt. However, I do not intend to share any spoilers.

Apart from great performances of the main leads, I also enjoyed the supporting parts done by Connie Song (as Karen Kan, the flower shop lady) and Bianca Stam who played Mrs. Zhou, the main villainess. She had a great fight scene in the finale and I wish she could have been utilized more in the picture.

Recommendations
All things considered, The Dark Soul is a better effort than Vixen (2018). Indeed, it is engaging and enjoyable for one viewing. In addition, I appreciate the “behind the scenes” montage during the end credits. It clearly shows the passion of the crew and their hard work that went into this big project made on a relatively small budget. My thanks go to TriCoast Studios for sharing the screener. They released the film under their DarkCoast label. See the trailer below:Overall score: 7/10

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The Fatal Contract (2018) [Film Review]

The Fatal  Contract; or, The Mystery of Cursed Paintings
     I saw how hurt he was. I told him to paint a few paintings to burn them to accompany her over the other side, then she will have friends. I never guessed that Bai Wei also had a bad fortune.
The Fatal Contract is a 2018 mystery thriller starring legendary Bai Ling, Tao Hong, and Zhao Yan Guo Zhang in the leading roles. It was directed by Tan Bing who stated the film was inspired by the story of an artist who only painted dead people. Let’s take a closer look at this low-key drama:

Release Info

Directed by: Tan Bing Starring: Bai Ling, Tao Hong, Zhao Yan Guo Zhang

Language: Mandarin Runtime: 90 min

Synopsis
After the suspicious death of an artist, a police detective (Xuan Miao) is looking for a suspect. She turns out to be a woman, Bai Wei (Bai Ling), who supposedly was a model for the artist. However, Bai Wei is nowhere to be found. She actually is with a local painter turned barkeeper, Tu La (Zhao Yan Guo Zhang) whom she marries. In order to avoid being arrested by the police and protect the love of her life, Bai Wei signs a contract with a wealthy art collector Lu Li (Tao Hong). Lu promises that she will help Bai Wei escape. In return, Wei has to ensure that Tu La will paint a specific piece of art for Lu. The couple is unaware that Lu Li collects very special paintings painted by special artists…

All the world’s a stage
I have to admit that The Fatal Contract has strong David Lynch undertones. The movie leaves the viewers in the dark at the very beginning, but it compensates its mysteriousness with a distinct Gothic atmosphere. Especially the lighting and production design enhance this feeling.

The story may be a bit confusing, but it makes the viewers keep guessing what will happen next. Fortunately, the twist in the finale reveals everything. The Fatal Contract interestingly examines the peculiarities of art and its importance in the present day. The relationship between an artist and his creation is the prevalent theme of the film and it should not go unnoticed.

Interestingly, The Fatal Contract marks Bai Ling’s first Chinese production in twenty years. The actress is perhaps best known to Western viewers from such movies as Crank 2 (2009), Taxi 3 (2002), and Red Corner (1997). She still looks amazing at the age of 52 and The Fatal Contract is a true showcase of her acting talent. In addition, another scene-stealer is Tao Hong as a bitter, yet mysterious art collector. It is such a shame that she mostly appears in supporting roles nowadays.

Recommendations
I recommend The Fatal Contract to anyone who is into a slow-paced and thoughtful mystery drama. I strongly hope that Tan Bing’s talent will not be wasted on straight-to-DVD flicks and that he will continue making movies as interesting as The Fatal Contract. My thanks go to TriCoast Studios for sharing the screener. They released the film under their DarkCoast label. See the trailer below:Overall score: 8/10

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Inland Sea (2018) [Documentary Review]

Inland Sea; or, The Inheritance of Loss
     You know I catch fish, so a cat bit my trouser! He probably smelled some fish here. So he bit it.

Release Info

Directed by: Kazuhiro Soda Original Title: 港町

Language: Japanese Runtime: 122 min

Inland Sea (original title: Minatomachi) is a 2018 production which was shot, edited, and directed by Kazuhiro Soda. The movie is not so much a conventional documentary (with narration and statistics) but rather an “observational film” (as stated in the opening credits) which focuses on the town of Ushimado, a place free from metropolitan hustle and bustle, with traditional architecture, rich history, and its friendly inhabitants who share their stories in front of a camera. This is a film about a quiet town that is on the verge of fading away in the era of globalism.

Obviously, I had to check out this documentary when I saw the “Calmy Stunning. Quietly heartbreaking.” recommendation from director Boon Joon-ho. Inland Sea marks my first encounter with Kazuhiro Soda and his style of filmmaking. It is immediately striking that the director does not force anything on the subject matter of his project (he follows his own “ten commandments”). He just walks around Ushimado with a camera and records the everyday activities of the townspeople and their testimonies. In addition, there is something soothing and remarkably poetic in the fact that the film is (almost) entirely black and white. In this way, it resembles a dusty family album.

Inland Sea undeniably provides an intimate look into the unknown side of Japanese society. Topical problems, such as diminishing fishing industry, negative natural increase of the population, and the migration of the youth to cities, are never uttered but they are clearly visible on film. We see them reflected in the hardships of an 86-year-old fisherman Murata Waichiro, daily deliveries of Koso-san (the owner of a fish shop), and candid confessions of a lively obaachan Kumiko Komiyama (featured on the official poster).

Interestingly, Soda manages to seamlessly transfer from one person to another. For instance, we see Wai-chan selling his catch on the market where Koso-san also makes her shopping. From Koso we go to a mother and son who buy ingredients to feed (two!) families of stray cats. Afterwards, Soda follows a passer-by to a cemetery. Eventually, the final (and the longest) section of the film is devoted to Kumiko who becomes a self-proclaimed tour guide, rapidly showing the most interesting places of Ushimado and recounting her life at the same time.

After seeing the documentary, I completely understand Boon Joon-ho’s seal of approval. Inland Sea is a record of a town, a remnant of pre-consumerist Japan, which is slowly dying out. With his natural style of filmmaking, Kazuhiro Soda managed to capture the slice-of-life drama better than Shohei Imamura and Yoji Yamada in their cinematic masterpieces. This observational film grabs you by the heart and does not let go.

Recommendations
I highly recommend Inland Sea to anyone who wants to experience the peaceful microcosm of a Japanese town. You will not be disappointed. My thanks go to TriCoast Studios for sharing the screener. They released the film under their Rock Salt Releasing label. In addition, make sure to check out the film’s official fan page. Also, see the trailer below:

Overall score: 10/10

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