光 Hikari (Radiance, 2017)

Recalling my recent week devoted to films available on Amazon, I’m delighted to say that the recent Naomi Kawase film I’m covering today is now on that platform. She is a filmmaker who makes often rather gentle films, often about women, that have a sensory quality and a fundamental compassion, whether that of the old lady in Sweet Bean or the grieving family in Still the Water.


Director Naomi Kawase has always had a very particular way with her films, about translating texture, touch, taste and other sensory experiences through sound and image, so it makes sense that this film deals with Misako (Ayame Misaki), a woman who writes closed captions for visually-impaired filmgoers. She’s working on an apparently very subtle film by an older filmmaker about a man grappling with mortality (while also herself dealing with an ageing mother who seems to be slipping slowly away). Misako’s job is to relate the film-within-the-film’s themes to her focus group of blind audience members, but she’s having trouble finding the right balance of description and subjective editorialising. This seems to be particularly irksome for one of the group, a slightly older man (Masatoshi Nagase) who used to be a photographer but has now mostly lost his sight. The themes, then, are fairly clear, about seeing and not seeing, using the imagination to experience and move with the characters on screen, and so the film-within-a-film is more heard than seen, as we try to connect using the words to what the protagonist is going through, and this film too is equally oblique in some ways. There’s a romance of sorts between the two central characters, but I wouldn’t characterise the film itself as a romance, except perhaps that between two people and the physical world.

Radiance film posterCREDITS
Director/Writer Naomi Kawase 河瀨直美; Cinematographer Arata Dodo 百々新; Starring Ayame Misaki 水崎綾女, Masatoshi Nagase 永瀬正敏; Length 101 minutes.
Seen at home (Amazon streaming), London, Saturday 18 April 2020.

ピストルオペラ Pisutoru opera (Pistol Opera, 2001)

Unquestionably a singular and odd film by veteran filmmaker Seijun Suzuki, revisiting themes in his early-career masterpiece Branded to Kill, albeit with a woman assassin. The ‘opera’ aspect of the title shouldn’t be underestimated, as, although without songs, it has a lot of the theatricality of that format: the frontal staging, addresses to camera, the high-key lighting in a very clear and uncluttered frame, and the very frugal use of movement. Suzuki at times prefers to use empty shots with strong sound effects over people doing things in frame. So in short, it’s not your ordinary film. Like opera, though, the plot is actually fairly straightforward: an assassin (Makiko Esumi), ranked #3 by her Guild, has to contend with her fellow assassins (not least the mysterious Hundred Eyes, #1), in order to claim the first place, while also being stalked by a 10-year-old wannabe (Hanae Kan). It may be filmed in a very idiosyncratic way, but it’s never without visual flair and parades an array of gorgeous saturated colours.

Pistol Opera film posterCREDITS
Director Seijun Suzuki 鈴木清順; Writers Kazunori Ito 伊藤和典 and Takeo Kimura 木村威夫; Cinematographer Yonezo Maeda 前田米造; Starring Makiko Esumi 江角マキコ, Sayoko Yamaguchi 山口小夜子, Hanae Kan 韓英恵, Masatoshi Nagase 永瀬正敏; Length 112 minutes.
Seen at home (DVD), London, Tuesday 17 January 2017.