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.
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.