Japanese films are often criticized by domestic audiences there, and many others, for being sad, gloomy or harrowing and there is much of that here. Kishibe No Tabi or Journey To The Shore, director Kiyoshi Kurosawa's newest film, had its North American premier this past Wednesday in Canada as part of the Toronto International Film Festival. It ran under the Contemporary World Cinema banner. The film, which is categorized as 'romance,' drew me in for its intriguing plot, presence of Tadanobu Asano (Café Lumière, Thor, Vital, etc.) and the always superlative Yu Aoi (Hana & Alice, cult film Riri Shushu No Subete, One Million Yen Girl, etc.) who has a bit role and not to mention director Kurosawa's resume which includes the funny and weird Tokyo Sonata among other films.
The story revolves around a woman whose presumed dead and lost-at-sea husband returns home after three years and the 'journey' that ensues. She is played by the plain Eri Fukatsu whose only previous work of fifty odd films this reviewer had watched was the fun Sutekina Kanashibari. It is worth noting this because that drama also featured Tadanobu Asano who plays the role of the husband. This film features quite a few well-known Japanese screen cast and crew members.
How is it? Given the plot, it is clear that Journey To The Shore is not a simple romantic flick. Yet, let us not drift too far from the category either. While the spirituality and fantasy aspects obviously exist, given what ensues the movie is indulgent. There are a few splendid shots of Japanese scenery; alas there are not enough of them. This is one of the film's failings. There are others however. To start, Fukatsu is almost stoic for a wife who is witnessing the return of her missing husband. She lets out a small gasp, he asks, "did I surprise you?" and we are off. It is reminiscent of the scene In The Girl Who Leapt Through Time when the male friend finds out Akari is from the future and essentially shrugs and goes with it. More likely, the director may have been inspired by the Japanese art-house film Empire Of Passion, which sees a deceased husband return home. Asano can apparently do and recall everything he once did including having sex and getting motion sickness, etc. save a mundane thing like remembering to take his shoes off before entering the house. Only a few subsequent questions ensue. The audience does soon question whether it is the husband who has returned or the wife merely believes it however. The film is patient and as contemplatively slow as the next Japanese film, but the core mushy middle is overplayed.
The wife is content now that she is on a voyage with her returned husband, but the loneliness and isolation remain even after the couple hit the road. We do understand more as the journey progresses. One of my pet peeves about Asian cinema is on full parade, namely no explanation is offered as to the mechanics of the 'what' or the 'how' of all this. The 'why' is the most clear of the elements. The film talks to the need for closure and tying loose ends, but makes no attempt to do so in its own scheme. Still, this is a couple's excursion unlike any other.
The story revolves around a woman whose presumed dead and lost-at-sea husband returns home after three years and the 'journey' that ensues. She is played by the plain Eri Fukatsu whose only previous work of fifty odd films this reviewer had watched was the fun Sutekina Kanashibari. It is worth noting this because that drama also featured Tadanobu Asano who plays the role of the husband. This film features quite a few well-known Japanese screen cast and crew members.
How is it? Given the plot, it is clear that Journey To The Shore is not a simple romantic flick. Yet, let us not drift too far from the category either. While the spirituality and fantasy aspects obviously exist, given what ensues the movie is indulgent. There are a few splendid shots of Japanese scenery; alas there are not enough of them. This is one of the film's failings. There are others however. To start, Fukatsu is almost stoic for a wife who is witnessing the return of her missing husband. She lets out a small gasp, he asks, "did I surprise you?" and we are off. It is reminiscent of the scene In The Girl Who Leapt Through Time when the male friend finds out Akari is from the future and essentially shrugs and goes with it. More likely, the director may have been inspired by the Japanese art-house film Empire Of Passion, which sees a deceased husband return home. Asano can apparently do and recall everything he once did including having sex and getting motion sickness, etc. save a mundane thing like remembering to take his shoes off before entering the house. Only a few subsequent questions ensue. The audience does soon question whether it is the husband who has returned or the wife merely believes it however. The film is patient and as contemplatively slow as the next Japanese film, but the core mushy middle is overplayed.
The wife is content now that she is on a voyage with her returned husband, but the loneliness and isolation remain even after the couple hit the road. We do understand more as the journey progresses. One of my pet peeves about Asian cinema is on full parade, namely no explanation is offered as to the mechanics of the 'what' or the 'how' of all this. The 'why' is the most clear of the elements. The film talks to the need for closure and tying loose ends, but makes no attempt to do so in its own scheme. Still, this is a couple's excursion unlike any other.