Japanese women. Films reviewed: Wife of a Spy, Mio’s Cookbook, The Brightest Roof in the Universe

Posted in 1800s, 1940s, Cooking, Drama, Espionage, Family, Fantasy, Feminism, Friendship, Japan, Women, WWII by CulturalMining.com on June 11, 2021

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Toronto’s spring Film festival season continues. Toronto Jewish Film Festival finishes this weekend, with two great French films, Summer of 85 a gay mystery romance set in the 80s and directed by Francois Ozon; and The Specials, a crowd pleaser by Olivier Nakache and Éric Toledano, best known for the hugely popular Intouchable. It’s about a makeshift social services centre in Paris for hard-to-handle kids with autism. 

But this week, I’m talking about another TJFF, the Toronto Japanese Film Festival. This one is also digital, but each film plays for the duration of the festival, until June 27th. And as always, it’s deftly programmed, with movies ranging from samurai to Yakuza to family dramas, romance, comedies, action, anime, and even some movies adapted from manga.

This week, I’m looking at three new Japanese features told from a female point of view. There’s a  cook trying to capture the flavours of her childhood,  a high school girl who seeks answers on top of a roof, and a wife who can’t decide whether her husband is an adulterer… or a spy.

Wife of a Spy

Dir: Kiyoshi Kurosawa

It’s the 1940s in Kobe Japan where Satoku and and Yusaku are a happily married couple. Satoku (Aoi Yu) is a movie actress and Yusaku (Takahashi Issey) a rich businessman who owns an import-export corporation. Japan is at war, but they continue live a western-style life of peaceful luxury. But everything changes when Yusaku and their nephew Fumio return from a business trip in. Manchuria. a Japanese puppet state in Northeastern China. There they witnessed unspeakable atrocities and war crimes committed by the notorious Kwantung Army (aka Kantogun), an elite branch of the Japanese military. And they brought a young Japanese woman back with them.

Satoku sees only the young woman and knows nothing of the war crimes — is her husband cheating on her?. Meanwhile, a childhood friend named Taiji relocates to Kobe. She remembers him as a kind young man. But now he’s a member of the dreaded Kempeitai, the Japanese Gestapo. He criticizes her for wearing dresses instead of kimonos and for drinking foreign whiskey not Japanese. He’s also secretly in love with her. And he suspects Fumio and possibly even Yusaku, are traitors spreading Japanese war secrets to the enemy. Or is he just trying to break up their marriage?

But when she discovers the truth about the horrors of war, she confronts her husband — does he have proof? Eventually she has to decide whether to become a spy herself or turn in her husband to the police. 

Wife of a Spy is great WWII thriller, full of jealousy, intrigue and numerous unexpected plot twists. Japan is not like Germany where filmmakers have produced hundreds or thousands of movies about their dark past. Rarely do you see Japanese films like this one. This movie is made for TV so everything is on a smaller scale with a more compact feel than a theatrical film, but under the direction of Kurosawa Kiyoshi and with its really good acting and script, (along with costumes, sets and music), it keeps the suspense building till the very end. 

Great movie.

Mio’s Cookbook

Dir: Haruki Kadokawa

It’s 1801. Mio and Noe are two 12 year-old girls in Osaka. They vow to be best friends forever. One day they encounter a fortune teller who says Noe is destined for great success, while Mio will have to pass through dark clouds before she reaches blue skies. The same night a huge flood sweeps away both their houses. Mio is an orphan adopted by a woman, and Noe completely disappears. Fast forward ten years.

Now Mio (Matsumoto Honoka) lives in Edo (Tokyo) and works as a cook in a small restaurant. But her love of the sweeter, subtler flavours of Osaka that she’s used to are not popular in her customers in Edo who prefer stronger, saltier tastes. So after much experimentation and hard work she comes up with a perfect blending of the two cuisines. She creates the perfect chawan-mushi egg custard, and her fickle customers love it. Soon, there are lineups around the block. Word reaches Yoshiwara, the red light district, where a mysterious courtesan who never shows her face in public and is known only as Asahi (played by Nao), sends an emissary to bring one back for her to taste. Meanwhile two men are also interested in her cooking: an aristocrat (Kubozuka Yusuke) and a doctor who frequents both the restaurant and the Yoshiwara district. But evil forces — in the form of competing restaurant owners — are working against her. They steal her recipes, send bullies to scare away customers and even set fire to her workplace. Can a woman become a famous chef in Edo? Will Mio ever find her childhood friend? And will she find love in the confines of her restaurant?

Mio’s Cookbook is a lovely drama about friendship, cooking, class, religion, sex work, and the floating world of the pleasure district. It’s full of fascinating details about Japanese cuisine — each new dish she creates is displayed and labeled for you to see — and tons of period touches about life 200 years ago. It’s directed by Kadokawa Haruki, the notorious former movie producer, once heir to the Kadokawa publishing empire but who fell from grace in a cocaine scandal in the 1990s. A Japanese Spielberg, he knows how to craft a complex plot with many characters by pressing all the right buttons to keep the crowd wanting more. This is an enjoyable film that left me feeling… well, very hungry afterwards.

The Brightest Roof in the Universe

Dir: Fujii Michihito

Tsubame (Kiyohara Kaya) is a high school girl in a town somewhere in Japan. She has a crush on her next door neighbour Toru (Ito Kentaro) a banjo-playing dude who thinks of her more as a younger sister. She recently split up with her boyfriend after he posted cruel anonymous texts about her on everybody’s cel. And at home, her parents (her dad and step-mom) are preparing for a new baby. But will it take her place in the family? Tsubame has lots to worry about, which she does on the roof of a building where she takes Japanese calligraphy classes. Until one day she realizes she’s not alone up on that roof. There’s a tough-as-nails old lady up there, too, who rides around on a kids’ scooter.

This strange granny is outspoken and opinionated and makes Tsubame feel uncomfortable. There’s something about her she just doesn’t get. But eventually they become friend and confidants. Turns out Hoshi-ba (Momoi Kaori)  — meaning granny from the stars — has special powers. She says she can fly and can solve almost any problem.  In exchange for Hoshi-ba’s favours, Tsubame starts doing things for her — like finding her long-lost grandson who lives somewhere amidst all the rooftops in the town. Is Hoshi-ba real or imaginary? And can she fulfil Hoshi-ba’s wish?

The Brightest Roof in the Universe is a sweet and absorbing coming of age story that touches on family, friendship and love.  It also deals with more obscure topics like ink brush painting, jellyfish and astronomy It’s slow paced but not boring, and told in a series of revelatory chapters, some of which are total surprises.

It’s also a sentimental tear-jerker, but in a nice way. I like this movie, too.

Wife of a Spy, The Brightest Roof in the Universe, and Mio’s Cookbook are all playing, now through June 27th at the Toronto Japanese Film Festival.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

Investigative Journalists. Movies reviewed: The Journalist, The Viewing Booth, The Best is Yet to Come

Posted in 2000s, China, Corruption, Crime, Israel, Japan, Meta, Movies, Palestine, Poverty, Realism, Suspense, Women, 日本映画, 中国电影 by CulturalMining.com on October 16, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Is journalism still alive? We seem to have an endless supply of pundits with formulaic political viewpoints, but true investigative journalism is hard to find. But it’s still there – you just have to know where to look. So this week I’m talking about three new movies (two dramas and a doc) about journalists and the media. There’s a die-hard journalist in Tokyo looking for the truth; a cub reporter in Beijing looking for his first big story; and a documentary-maker in the US looking at how viewers interpret the news.

The Journalist (新聞記者)

Dir: Fujii Michihito (Based on the novel by Mochizuki Isoko)

Erika Yoshioka (Eun-kyung Shim) is a young reporter at Tôto, a medium-sized Tokyo newspaper. One day she receives an anonymous fax with a cartoon of a sheep drawn on the first page. Inside are government plans to open a medical researchlab in a backwater town. is it a prank? Evidence of a boondoggle? Or something more? She decides to investigate. But she has to be careful; her own father was a freelance journalist based in New York who ended up dead from suicide after revealing another storyl.

Meanwhile, in a different part of Tokyo, a young government bureaucrat named Takumi Sugihara (Tôri Matsuzaka) gets an unusual call from Kanzaki, his former boss from five years earlier. He wants to meet for a talk. Sugihara used to work for Gaimushô, Japan’s foreign service, but switched to his current job after Kanzaki took the fall for a scandal at the Beijing Embassy where they both worked. Sugihara now works for Naicho, the secretive intelligence unit that operates out of the PMO. Rumour has it Naicho is used to surveil and plot against opponents to the ruling political leaders. Kanzaki wants to tell him something, but they both end up getting drunk instead. And not long after, he jumps off a building. His death brings together the dogged journalist Erika and the loyal bureaucrat Sugihara both of whom want to find out exactly what happened. What was Kanzaki’s secret and why is it so dangerous? Is it related to the sheep cartoon Erika received? Who else knows? And what will happen to the two of them if the scandal reaches the papers?

The Journalist is a tense, captivating story of deep-state corruption and sinister plots. The action alternates between Erika’s bright and crowded newsroom and the cold empty halls of Naicho where Sugihara reports to an evil and powerful boss. Korean actress Shim Eun-kyung is perfect as Erika in her unwavering search for the truth – she totally deserves the Japanese Academy award she won for this performance. The Journalist is a terrific movie.

The Viewing Booth

Dir: Ra’anan Alexandrowicz

This documentary asks: can news viewers, like you and me, ever change our political views because of politically-charged videos we watch on sites like youtube?  It follows a subject named Maya at an American university by filming her face has she watches a selection of 40 short news videos. The camera captures her comments and facial expressions, moment by moment, as she wavers between acceptance and rejection of what she’s watching, sorting them mentally according to whether or not they fit her outlook. She asks aloud: Is this footage real? Is it convincing? Is it biased? Does she believe it? And what does it mean?

She’s brought back six months later, this time viewing the same videos, right beside footage of herself from the first session. She observes herself observing videos (it gets super-meta here.) The videos in the doc are all from the occupied Palestinian territories and they range from innocuous to disturbing, showing settlers, Israeli soldiers, and Palestinians. (She concentrates on one video where soldiers dressed in large military masks walk into a home in the middle of the night, wake up small children,  ask each child their name, photograph each child’s face, then leaving without explanation.) Half the clips are from B’Tselem, a human rights group opposed to the occupation, and the other half were posted by various right-wing groups. The documentary tries to see whether exposure to opposing viewpoints can change a viewer’s mind or if it merely enforces the beliefs she already holds. Here’s the thing: it’s not a scientific study despite its clinical trappings; rather, The Viewing Booth is more of a meditation, the filmmaker’s personal reflection on the biases news viewers hold. Is it universally applicable or just about that single subject? I don’t know, but it is interesting – and unsettling – to watch.

The Best is Yet to Come (不止不休)

Dir: Wang Jing

It’s 2003. Han Dong (Bai Ke) is a would-be journalist in Beijing. Originally from northeastern China, he’s a high school drop-out who quit his steady job back home at a chemical factory to go for broke in the big city. But so far no luck. His girlfriend Xiaozhu (Miao Miao: Youth) who also worked at the factory lives in even worse conditions. But he keeps going to job fairs to try to get hired by a newspaper. And they keep rejecting him as unqualified, until… opportunity knocks when he visits a newspaper to pick up a minuscule 100 yuan paycheque for a short piece they published. He catches the attention of a veteran journo there takes him on as an intern, right beside college grads brandishing journalism degrees from prestigious schools like Bei Da. And he passes his first test, getting a scoop at the site of a coal mine disaster. But his next story could be a whopper.

He goes undercover taking a job at a sketchy medical clinic that pays cash for blood. No they’re not vampires. Rather they provide forged blood samples for applicants to jobs. Why? Because anyone who tests positive for Hepatitis B is categorically rejected. This effects maybe 100 million people for a disease that is not even contagious. It’s a crooked company that breaks the law. But is the law fair? Should he cover the story… or cover it up?

The Best is Yet to Come (based on a true story) shows how a self-taught, print journalist breaks into the big leagues despite all the odds against him. Its exciting plot keeps you questioning all the way through. This is Wang Jing’s first feature – he was assistant director to the great Jia Zhang-ke (Ash is Purest White, Touch of Sin) but with a very different style. It’s told in a straightforward chronological manner, no tricks or fancy camerawork. Great acting and story, The Best is Yet to Come gives an unusual look at both investigative journalism and a glimpse into real-life China – the grime and grit, the dark alleys, crowded tenements and poverty. And it leaves on a hopeful note: if you try hard and don’t give up, you can change the world.

The Best is Yet to Come played at #TIFF20, The Viewing Booth is showing at Planet in Focus Environmental Film Festival on now through the weekend, and The Journalist is available for streaming at the Toronto Japanese Film Festival through October 21st.

This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.

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