Tokyo Melody (1985) [Documentary Review]

Tokyo Melody; or, Multicoloured Polyphonia
     I’m working on things that will only be understood by the grand-children of the 20th century ~ Claude Debussy
Recently, while doing research on City Pop/Kayokyoku for a special project, I stumbled upon a French-Japanese documentary directed by photographer Elizabeth Lennard called Tokyo Melody, un film sur Ryuichi Sakamoto. I was aware of the fact that there were documentary features made about the legendary composer, but I did not know this particular one, which was released in 1985, so at the height of Pop music in Japan and YMO’s popularity.

Release Info

Directed by: Elizabeth Lennard Starring: Ryuichi Sakamoto, Akiko Yano, Yukihiro Takahashi

Language: Japanese, French Runtime: 62 min

In Search of Perfection
The documentary is not so much about the life of Sakamoto and his rise to stardom, but about his working process. In a truly idiosyncratic way, Sakamoto exposes himself in front of a camera and talks about his inspirations, interests, perception of music as well as of time. These confessions coupled with his instrumental pieces, YMO archive footage, and the hustle and bustle of 80s Tokyo really elicit an eclectic viewing experience.

What is more interesting, we actually see Sakamoto at a recording studio during his work on the album Illustrated Musical Encyclopedia (1984). The composer demonstrates his gear and also explains the convoluted technicalities behind the high-tech equipment. To my mind, the Fairlight CMI synthesizer seems more advanced than modern-day instruments, but I am not an expert at all.

In addition, Sakamoto’s experience with Merry Christmas, Mr Lawrence (1983) is addressed. It is a real treat because the composer rarely talks about the film. In the case of this documentary, he does not even mention his onscreen performance, but he explains his creative process with regard to the music score. I also wrote about this in greater detail in my stand-alone editorial Confessions in the Jungle: Comparing The Bridge on the River Kwai (1957) and Merry Christmas Mr. Lawrence (1983).

Apart from this, there is an interesting segment in which we see Sakamoto and his wife Akiko Yano performing Tong Poo, which is intercut with Yellow Magic Orchestra’s live version of the piece recorded for YMO Propaganda film. This is a very intriguing juxtaposition of the two interpretations of the same song, which reflects Sakamoto’s own balance over the threshold between classical and pop music. The composer himself says in the documentary that he chose pop music to reach a wider audience.

All things considered, Tokyo Melody is not only an introspective look into Ryuichi Sakamoto, but also an attempt to see the world through his lens. It is a highly engaging documentary indeed, but I would appreciate it had there been some personal input from people close to Sakamoto, such as Akiko Yano or Yukihiro Takahashi.

Recommendations
If you are a fan of Ryuichi Sakamoto, then this documentary is certainly for you. If you are a die-hard fan of YMO, then you will only be able to see some archive footage of their performances. I sincerely hope that the documentary will get picked up by a distribution label and properly remastered.

Overall score: 9/10

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Tokyo Olympiad (1965) [Documentary Review]

Tokyo Olympiad or, Faster, Higher, Stronger
     The Olympics are a symbol of human aspiration
When it comes to sports-oriented movies, there are three titles which immediately come to my mind: Hoosiers (1986), Chariots of Fire (1981), and Tokyo Olympiad (1964). Indeed, the last picture is primarily a documentary, but in my opinion, it is so much more than a record of the 1964 Summer Olympics in Tokyo. To be specific, this film is also a record of human society from another period, from a different geo-political and cultural climate.

Release Info

Directed by: Kon Ichikawa Language: Japanese

Original Title: 東京オリンピック Runtime: 169 min 

A New Beginning
It goes without saying that ever since its inception, the Olympics constitute a prestigious promotional opportunity for a country hosting the games. Japan understood and took great advantage of that chance. After the horrible period of WWII, the country sought to reform and reintroduce itself into the public spotlight. The 1964 Olympics were exactly the boost they needed. For this occasion, the Japanese government commissioned the making of a documentary that would serve as a special memorandum of this grand event.

Originally, the authorities reached out to the legend himself, Akira Kurosawa, but getting the director in the saddle proved too cumbersome. Allegedly, Kurosawa demanded full control over the opening as well as the closing ceremony of the Olympics in order to fully realise his directorial vision. Consequently, Kon Ichikawa was brought in as a replacement.

From the opening moments, you know that Tokyo Olympiad is more than just another documentary. It is an artistic reflection on sportsmanship, fair play, new Japan, and (most importantly) world peace. Ichikawa’s cinematic approach to the strictly journalistic subject matter creates an image of people locked in time: an image of athletes competing against each other and an image of spectators, Japanese citizens, cheering for those striving to win.

I think one has to be in the right state of mind to fully appreciate Tokyo Olympiad. This documentary is especially important today in view of many changes on the international stage. Evidently, Japan tried to catch lighting in a bottle for the second time in 2020 when they were supposed to organise the new Summer Olympics. Nevertheless, the pandemic struck and the whole preparation turned into a mess that was accompanied by a re-enactment of one scene from Akira (1988).

Ichikawa’s picture shows that the 1964 event was a one-shot deal for Japan to show the world how cool it was. Without a doubt, it was a unique occasion, made exciting by unique sportswomen and sportsmen, which could not have been repeated decades later.

There exist multiple cuts of the documentary, but the one which bears Ichikawa’s seal of approval is the 169 minutes cut released by The Criterion Collection and Tartan Video. Luckly, you can check out Tokyo Olympiad fair and square on the official Olympics Channel website. Please refer here.

Recommendations
All things considered, with its depth and brisk pace Tokyo Olympiad is one of the best documentaries out there. It comes as no surprise that Tokyo Olympiad was the highest grossing film in the Japanese box office until the release of Hayao Miyazaki’s Spirited Away in 2001. The closing credits of the documentary are especially chilling and touching in view of the modern-day context.

Overall score: 9/10

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A2 (2001) [Documentary Review]

A2 (2001); or, Paradise Lost
     I can’t express adequately what I want Aum to be, but I know I don’t like the way it is now.
Three years after an incredibly insightful documentary about Aum Shinrikyo and the aftermath of 1995 Tokyo attacks, director Tatsuya Mori returns with a follow-up. In A2, we see the crumbling organisation that struggles to reform itself; however, a new law is passed in the parliament which allows the police to monitor the activities of the cult.

Release Info

Directed by: Tatsuya Mori Language: Japanese

Original Title: A2 Runtime: 124 min

Sonshi He Knows Me
In order to explore the troubling situation which Aum Shinrikyo found itself in, Tatsuya Mori visits different satyams/households where the followers reside. Mori records their everyday activities, but he also captures ordinary citizens who relentlessly confront members of Aum. Apart from these local interventions, the viewers catch a glimpse of the cult at a decision-making level: We again see Hiroshi Araki together with his colleagues trying to save the reputation of Aum. At the same time, Joyu Fumihiro is released from custody and we see him striving to create a revamped version of Aum called Aleph.

It is evident in A2 that Mori loses his patience. The director himself confronts Araki and other members of Aum time and time again about the 1995 attacks and consequences of their horrible actions. “Our society’s become so brazen, so hateful, and that was all triggered by Aum. I couldn’t stand to see the whole incident be forgotten, but then I don’t know what should be done. Japanese society is clearly much worse than it was five years ago - it’s definitely warped. I think Aum was the main cause of that,” the director states.

Incidentally, we see a lot more of Mori in A2 than in the previous part. Perhaps in these little scenes with Aum followers, the director wanted to underline that this visual examination of the cult is more personal to him. In my opinion, Mori was given greater access to Aum’s facilities than before. Thanks to this richer video material, we are able to see that the followers continue to worship Shoko Asahara as well as practise his questionable teachings (see purification ritual or meditation while wearing special helmets with wires).

In addition, we witness the confrontations between local townspeople and the followers who reside in their areas. In many cases, the locals are angry and determined to drive Aum people out of their cities, but sometimes we see the opposite reaction. Ordinary people and the followers bond with each other, they casually crack jokes, or even exchange jokes. Some residents say to Mori that it is better to talk to Aum rather than fight it.

From the big-scale events, we get to see the release of Joyu Fumihiro who is tracked down by right-wing nationalists, who in turn get in conflict with the police. It is an incredibly detailed insight into the political aspect of Japanese life and how it was changed after the 1995 attacks.

Perhaps the most baffling, yet unnerving at the same time are the actions of Araki, Fumihiro and their associates. During a confrontation with a victim of the Matsumoto sarin attack, it becomes clear that people in charge of Aum have no idea how to show remorse or even understanding of what had happened. They are only interested in keeping the organisation going, which makes me all the more sorry for regular followers who fell victim to Asahara’s dogma.

Recommendations
All things considered, I highly recommend Tatsuya Mori’s A2 documentary. It is a great addendum to the first part. Recently, A2 was screened at DAFilms as part of the Made in Japan, Yamagata 1989-2021 program. In 2016, Mori also released an updated version of the documentary called A2: Kanzenhan. The film is also available on DVD from Tidepoint Pictures.Overall score: 9/10

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A (1998) [Documentary Review]

A; or, In Sonshi We Trust
     I want you to look at us closely. I want you to record us. We don't have a tradition of recording things. Even if we did, people would see it differently, because we made it. I want ordinary people, people who can understand, to see what they can see, to hear what they can hear.
I have to make it clear upfront that I have always been interested in the controversial topic of Aum Shinrikyo and the 1995 Tokyo subway attacks. However, it was not until last year when I could conduct more research on the matter after reading Haruki Murakami’s extremely gripping Underground: The Tokyo Gas Attack and the Japanese Psyche. Going down the rabbit hole of internet search, I stumbled upon a 1998 documentary made by an independent filmmaker Tatsuya Mori. The film simply titled “A” is a behind-the-scenes look into the Japanese cult on the brink of destruction.
Release Info

Directed by: Tatsuya Mori Language: Japanese

Original Title: A Runtime: 134 min

In contrast to many respected producers and television companies, Tatsuya Mori, a freelance documentarian, was luckily allowed to step into Aum Shinrikyo facilities and record the plight of the cult between 1995 and 1997. In this 134 minutes long feature, we see a shocking image of Aum followers who display unwavering belief in Shoko Asahara, while struggling to acknowledge the atrocity of the sarin incident, which was planned by their beloved master.

The central protagonist of the story is Hiroshi Araki, then deputy spokesman of Aum Shinrikyo. This young introvert in his late 20s has to deal with swarms of news reporters, police officers, civil servants, and ordinary bystanders who postulate for the banning of Aum Shinrikyo group.

At the same time, Mori records everyday activities of other members in now-bankrupt facilities of the cult spread across Japan. They continue to meditate, pray in front of an image of Asahara, and listen to the master’s audio preachings. For non-Japanese viewers, these are truly striking images to look at. The followers themselves frequently provide confessions in front of a camera, shyly trying to put into words their line of reasoning which goes more or less like this: We had no idea what Asahara and his associates were doing. It is hard for us to believe in it, but since they admit this, it probably is true. What happened in the Tokyo subway was horrible, but it does not affect the overall goals of Aum Shinrikyo related to reaching enlightenment.

As Araki travels between different facilities which are either to be demolished or liquidated, Mori records an image of a deeply troubled man who, while thinking about his family, struggles to keep the publicly-hated organisation together. The ambiguity of this documentary raises some moral concerns: Are these people truly brainwashed? Should they be allowed to pursue their concept of utopia even if their leader turned out to be a terrorist? Does the police have any right to harass them? Mori neither acknowledges nor answers these questions. He objectively points the camera at the followers of Asahara and harnesses their complex confessions.

Recommendations
Whether we like it or not, Aum Shinrikyo continues to exist in the world of today as two separate organisations: Aleph and The Circle of Light. Hiroshi Araki continues to be the spokesman of Aleph, and recently he was featured in Atsushi Sakahara’s Me and The Cult Leader (2020) documentary. In 2001, Mori released a sequel called A2, which was followed by a novel A3 If you want to learn something more about Aum Shinrikyo, then I highly recommend the original A documentary.

Overall score: 8/10

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Citizen Kitano (2020) [Documentary Review]

Citizen Kitano; or, A Tribute to the Auteur!
     I intentionally shoot action to make the audience feel real pain. I have never and I will never shoot violence as if it’s some kind of action video game.
It goes without saying that Takeshi Kitano gained widespread international attention in the 1990s, but French occupation with the Japanese director should be categorised as a separate phenomenon. Apart from releasing Kitano’s productions on the European market, France would also translate his books and collections of essays. Yves Montmayeur’s 2020 documentary called Citizen Kitano is yet another proof of how much the Japanese legend is revered there. Let’s see together how it holds up.

Release Info

Directed by: Yves Montmayeur Starring: Takeshi Kitano, Katsumi Yanagijima, Kayoko Kishimoto

Language: French, Japanese Runtime: 52 min

From Street Kid to TV Star
I was lucky enough to catch the documentary on the Canal+ channel in my country. The documentary lasts slightly over 50 minutes, so it is not a lot of time to cover Kitano’s rich cinematic legacy, but Citizen Kitano manages to get through the major points in a succinct way.

We start off with Kitano’s childhood. Where he came from and what his background was. These memoirs are accompanied by animation clips as well as old photos. Then, we move on to his stage endeavours as ‘Beat’ Takeshi and a career on Television in the 1980s. This part of the documentary includes a lot of previously unknown archive footage from Kitano’s reality shows. What is more, the narration is accompanied by insightful interviews from Kitano himself as well as actress Kayoko Kishimoto, director of photography Katsumi Yanagijima, and journalist Michel Temman.

The interviews are undoubtedly the best part of the documentary as they present the fans with new information on the elusive figure of Kitano; however, the director’s “pretentious” (for lack of a better word) narration is unforgivable. It seems as if Yves Montmayeur relentlessly tries to frame Takeshi, with the usage of inventive adjectives and comparisons, as a kind of an underdog battling the disbelievers who fail to recognise his creative talent. Indeed, Kitano had a hard time transitioning from the realm of TV to cinema, and his movies did not sell well in Japan, but it does not mean by default that the whole public perceived him as an misunderstood outcast.

The part of the documentary which covers Kitano’s movies also leaves a bit to be desired. Montmayeur focuses primarily on Kitano’s popular yakuza flicks, such as Violent Cop (1989), Sonatine (1993), and Hana Bi (1997) as well as the director’s intertextual pieces like Takeshis (2005) and Glory to the Filmmaker! (2007). However, Kitano’s sensitive side reflected in A Scene at a Sea (1991), Kikujiro (1999), Dolls (2002), and Achilles and a Tortoise (2008) is barely scratched.

Still, I admire that the documentary shows off Kitano’s activity as a painter and modern commentator on the political and social issues in Japan. We even get a short interview with the Governor of Tokyo, Yuriko Koike, who describes her encounter with Kitano dressed up as Donald Trump.

Arguably, the most interesting and heart-warming statements come from Kayoko Kishimoto who has collaborated with Kitano since the 1980s. The actress really manages to capture the multifaceted image of the director who is either hated or loved by cinemagoers.

Recommendations
All things considered, if you are a die-hard fan of Takeshi Kitano, you probably will not get a lot of new info out of this documentary. Still, it is worth checking it out for the interviews and archive footage. Dear Netflix, I am still waiting for the live-action movie inspired by Kitano’s life. Don’t disappoint me!

Overall score: 7/10

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Godzilla and Heroine (2020) [Documentary Review]

Godzilla and Heroine; or, Tokusatsu Mon Amour
     My work with Godzilla has reached an end.
As soon as I heard that NHK television released a new Godzilla documentary in late December, 2020, I knew I had to check it out. This new look at behind the scenes focuses on the theme of female thespians who had the honour of gracing the screen alongside the legendary King of the Monsters.

Release Info

Directed by: Takeshi Yagi Starring: Kumi MIzuno, Yumiko Shaku, Keiko Mari, Megumi Odaka

Language: Japanese Original Title: ゴジラとヒロイン Runtime: 90 min

In spite of my less-than-rudimentary knowledge of Japanese, I was able to grasp the gist of the documentary. The whole thing plays like a variety show, hosted by three people: Shiro Sano (who appeared as a scientist in Godzilla 2000), comedian Tsukaji Muha pretending to be a lab doctor, and actress Megumi Han playing an android. The three hosts begin the show by explaining the concepts of “Tokusatsu” and “Kaiju” and establishing different kinds of heroines.

At this point, the documentary slightly diverges from its title because it covers a wide range of actresses who appeared not only in Godzilla movies but also in other Tokusatsu productions of the Showa era (for example, the hosts show snippets from such films as The Mysterians (1957), The Three Treasures (1959), Matango (1963), Frankenstein Conquers the World (1965), and many more). As a result, the documentary transforms into a love letter to all the actresses who played in Japanese monster movies before these pictures became too-cool-for-school across the globe.

Apart from extensive retrospectives, the documentary also provides a look at previously unknown footage from the making of Tokusatsu films. In addition, the figure of Godzilla producer Tomoyuki Tanaka is outlined in detail.

With regard to special guests, the NHK studio is visited by Kumi Mizuno who reminiscences about her time on Godzilla films, and Yumiko Shaku who shows up in her full Kiryu Squadron uniform from Godzilla Against Mechagodzilla (2002) movie. Interestingly, she is very lively and energetic while interacting with the hosts (but her character in the movies was very serious and pessimistic). In addition, former Godzilla producer/Toho president Shogo Tomiyama also appears and has a conversation with the hosts and other guests.

The documentary also features pre-recorded interviews with two other actresses, Keiko Mari and Megumi Odaka. The first actress discusses her role in Godzilla vs. Hedorah (1971), whereas Megumi Odaka goes over the story arc of her character, as presented in Godzilla vs. SpaceGodzilla (1994) and Godzilla vs. Destoroyah (1995).

Apart from these treats, Shino Sano provides a lecture-like talk about the development of Tokusatsu heroines over the years. To be honest, I would have appreciated these interjections more had it not been for the fact that Godzilla and Heroine does not treat itself seriously, constantly falling into the convention of a variety shows, because the viewers need to be entertained. As a result, we see Shiro Sano is some kind of a bar with loud music (as if he is about to promote Suntory whisky like Bill Murray) and Tsukaji Muha trying to re-enact the famous heroine screams.

I think that the documentary would have worked better if it had been a straightforward retrospective on all of the Godzilla heroines, something similar to Maryam d’Abo’s Bond Girls Are Forever (2002). In this documentary, a former Bond girl tracks down and interviews fellow beauties who appeared alongside Agent 007.

Recommendations
If you are an incurable Godzilla fan, then the documentary is definitely for you. However, you may not get any new information out of this viewing experience. All in all, it’s great that Godzilla’s heroines are still being remembered in the world of today. My respect goes to all the actresses, especially Momoko Kochi (picture above) who had the privilege of playing the first female character in a Godzilla movie.

Overall score: 7/10

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The Emperor's Naked Army Marches On (1987) [Documentary Review]

The Emperor’s Naked Army Marches On; or, Divine Intervention
     You're not the only one being punished. I almost starved to death in New Guinea. My wife got injured in an accident. I killed someone I didn't want to kill. If a misfortune befalls you, it means you deserve it.
Kazuo Hara’s The Emperor’s Naked Army Marches from 1987 is one of the few documentaries that stood the test of time. I became aware of it a couple of years ago, but I was surprised to see it popping up on various recommendations lists as well as on YouTube. Needless to say, an interesting title and psychedelic poster were enough to get me interested. Having seen it, I can safely say that it is one of the best documentaries with an anti-war message out there.

Release Info

Directed by: Kazuo Hara Starring: Kenzo Okuzaki, Shizumi Okuzaki,Toshiya Nomura, Rinko Sakimoto

Language: Japanese Original Title: (ゆきゆきて、神軍 Runtime: 121 min

In contrast to many other pictures of that genre, we do not get an extensive exposition or narrative guidance. Thanks to short title cards, we are introduced to the main protagonist, Kenzo Okuzaki, a 62-year-old war veteran, former member of the 36th Battalion which took part in Japan’s campaign in New Guinea during the Second World War. Okuzaki who literally survived hell in New Guinea holds primarily one person responsible for the whole ordeal, Emperor Hirohito. It is explained later on in the picture that Okuzaki has served 13 years in prison for killing a real estate broker (this charge is not entirely explained), spreading leaflets offending the Emperor, and sling-shooting four pachinko balls at the Emperor.

However, Okuzaki’s hate for the Emperor is not the main topic of the documentary. The veteran is on a personal quest to find out the truth behind the mysterious deaths of three soldiers from his battalion. Were they killed under false pretences? Did they commit desertion? Why were they executed 23 days after the war ended? Accompanied by relatives of the victims and his own wife, Okuzaki relentlessly tracks down former members of the battalion and confronts them about the killings in front of a camera. Some tell the truth, others obviously lie, but a few speak so chaotically that they indirectly confirm the relatives’ theory; that is, the men in question were executed in order to be eaten by fellow soldiers.

The Emperor’s Naked Army Marches On tackles the taboo topic of cannibalism during World War II. The Japanese garrisons had very limited resources towards the end of the conflict, so they resorted to either stealing food or killing “white pigs” (Allied soldiers) and “black pigs” (the natives). If that did not work, they killed their own men.

Kenzo Okuzaki may appear to be a frantic man who is unable to control his temper (at times, he physically attacks ex-soldiers to get the truth out of them), but he clearly states his intention. He wants the viewers to hear the whole story so that no war would ever break out in the future. The ultimate antagonist of the documentary appears to be Captain Koshimizu who, as other soldiers confessed, personally killed the privates. The captain, however, calmly denies doing such a thing. The title card at the end of the documentary reveals that in 1985 Okuzaki tried to kill Koshimizu for his crimes, but he somehow shot the captain’s son instead (who allegedly survived). Okuzaki was arrested and sentenced to 12 years of hard labour. There is not much information on the internet about him, apart from a note stating that he passed away in 2005.

Kazuo Hara’s documentary undeniably shows that cultural depictions of the Japanese participation in the Second World War are only the tip of the iceberg. There are to date many issues left unsaid and unresolved. The passage of time only makes things worse. Kenzo Okuzaki states during one of the confrontations that if a person leads an immoral life, he or she will eventually receive divine punishment. Perhaps there is some truth in words of an individual who dared to oppose the Emperor himself.

Recommendations
I highly recommend The Emperor’s Naked Army Marches On to anyone. Even if you are not interested in history and World War II, you have to see the rare and unscripted testimonies of people who looked into the abyss of darkness. Indeed, this is one of the best documentaries ever made.
Overall score: 9/10

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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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