“It’s weird how people stare at you in Japan” observes Lily Bridges (Riley Keough), mere days into the buoyant and outgoing American’s new life in late ’80s Tokyo. “It’s like being famous.” Lily, a former nurse with a fondness for dancing and reading palms, doesn’t seem especially worked up about being noticed like that — about being made so aware of her own visibility — but her experience speaks to a broader phenomenon that Western cinema has documented for decades: Japan has become the de facto backdrop for movies about white people feeling conditionally (and often therapeutically) othered.
From “Tokyo Fiancée” to “Tokyo Drift,” the Land of the Rising Sun is often depicted as a place where certain types of gaijin can step outside of themselves in comfort; where Scarlett Johansson can safely take stock of her own dislocation on a daytrip to Kyoto, Tom Cruise can atone...
From “Tokyo Fiancée” to “Tokyo Drift,” the Land of the Rising Sun is often depicted as a place where certain types of gaijin can step outside of themselves in comfort; where Scarlett Johansson can safely take stock of her own dislocation on a daytrip to Kyoto, Tom Cruise can atone...
- 11/15/2019
- by David Ehrlich
- Indiewire
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