Three new Japanese films from the Tokyo International Film Festival to watch | Metropolis Japan – Metropolis Japan | Episode Movies

A handful of great directors from all over the world, from Kazakhstan to Chile, compete for the Grand Prix of this year’s Tokyo International Film Festival (TIFF). Representing Japan this year are three works by a mix of established and emerging filmmakers. The Tokyo International Film Festival closed its curtain on November 2nd, but rest assured these films will be showing in local cinemas in Tokyo soon.

at the window

Director: Rikiya Imaizumi

After discovering his wife is cheating on him, Shigemi (Goro Inagaki) is even more upset to find that her adultery doesn’t bother him at all. His colleagues advise him to get a divorce, claiming that he doesn’t love his wife enough to resent her dishonesty. Troubled by his lack of emotions and his inability to communicate them to his wife, he seeks answers by befriending 17-year-old award-winning writer Ai Kubo (Tina Tamashiro), who takes him to eat fruit parfaits and discuss the issues to speak of boys.

at the window is more sympathetic to adultery. Hotel rooms become a common setting in the film, which features supporting characters such as Masa (Tatsuya Wakaba) – a close friend of Shigemi, an injured athlete who cheats on his wife with a young TV personality – and Sae – Shigemi’s own wife and an editor , who sleeps with her author – discuss insecurities with her secret lovers. Masa and Sae are fully aware of their disloyalty, but have nevertheless chosen to put themselves in the arms of their lovers to fill the gaps left by their monogamous marriages (worries about financial problems, not feeling loved enough).

The complications of human relationships are a subject of exploration in at the window– which thematically doesn’t stray too far from Rikiya’s earlier work. The film delves into the personal lives of the characters as they navigate friendships and love affairs. Conversations between characters move the story; With cinematography that includes still cameras and well-lit views of characters’ facial expressions, dialogue seems to be more important than polished camera movements and visual motifs.

at the window takes home the audience award at this year’s TIFF and will be shown in local cinemas from November 4th.

egoist

Directed by Matsunaga Daishi

Wealthy fashion editor Kosuke (Ryohei Suzuki) hires self-trained personal trainer Ryuta (Hio Miyazawa) to help him get in shape. Their trainer-client relationship soon evolves into a sexual and romantic relationship as they spend hours together after training sessions in Kosuke’s huge apartment. The two men end up in a codependent relationship where even a series of life-changing events couldn’t break them apart.

egoist markets itself as a romance, but audiences can expect the film to cover more than one path. Although Matsunaga provides the dramatic aspect, he takes his time following Kosuke as he deals with the loss of his late mother and his sexuality. When he meets Ryuta and his single mother (Sawako Agawa), Kosuke not only finds a lover but also a new motherhood figure. The story takes on a sluggish pace, unraveling the characters’ emotions as they come to terms with their reality. With its anticlimactic ending egoist is less a dramatic love story and more a study in one man’s journey to come to terms with his childhood wounds.

Stylistic choices are made to create an intimacy with the characters. With director Matsunaga’s background in documentaries, most of the scenes are shot hand-held close-ups and in one take, trusting the three main actors to give great performances.

egoist will be in cinemas across the country starting February 10, 2023.

mountain woman

Directed by Fukunaga Takeshi

A famine sweeps through a village in Tohoku, Japan, robbing Rin’s (Anna Yamada) family of the gruesome task of throwing away corpses in exchange for a handful of rice. Faced with glares from villagers and beatings from her father every day, Rin banishes herself to the mountains. She flees past the Sacred Rock, which the villagers believe should never be crossed due to the monsters said to reside there, and encounters a mute elderly man (or perhaps a mountain spirit) who guides her in search of a place of belonging guides. As the two continue to engage in wordless conversations and raw wolf meat, Rin comes to love her life in the vast woods.

Rin believes that the mountain welcomes all human souls who have died, regardless of social class and wealth. It gives her hope that one day she too will be able to escape the suffering of famine and the ruthless politics of her village. The threatening presence of the mountain is made through sound. The chirping of birds and the rippling of streams of water over the pounding musical score are accompanied by images of the village landscape.

Director Fukunaga Takeshi works with cinematographer Daniel Satinoff to build an engaging storyline through visual storytelling. In her family cabin, Rin’s face is almost always swallowed by the shadows, but she is colored by the sunlight sifting through tall mountain trees as she leaves her village to connect with her spiritual beliefs.

mountain woman does not yet have a firm date for its theatrical release, but audiences can expect it to hit theaters in Tokyo in 2023.

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