Philosophy
isn’t even a scientistic pseudo-social science like psychology or sociology.
Yet, Tama Shiraishi’s dissertation advisor assigns her some field work anyway.
Based on his suggestion, she will follow a random stranger with whom she has no
prior connection, to learn about their daily routines and closely held secrets.
That in turn should help shed light on what gives life meaning. At least that
is the theory. Whether it pans out or not, Shiraishi will experience
considerably more than she bargained for in Yoshiyuki Kishi’s Double Life (trailer here), which screens
during this year’s New York Asian Film Festival.
Shinohara
is the dread terror of the philosophy department, but he seems to have a soft
spot for Shiraishi. Regardless, he has a keen interest in the results of her
dissertation concept. Initially, Shiraishi was reluctant, but fate presents her
neighbor Ishizaka as a perfect subject. He is a senior editor at a publishing
house, who comes from family money. Outward appearances suggest he is a model
family man with a pretty wife and a cute daughter. However, Shiraishi soon
discovers Ishizaka has a somewhat jealous mistress on the side.
While
Shiraishi is tailing the book editor, she witnesses a rather awkward argument
between the secret lovers, even more awkward confrontation with his wife, and
the downright ugly aftermath. Finally noticing his silent shadow, Ishizaka
blames her for all his woes, which really doesn’t seem fair, but maybe there is
a grain of truth to it. Yes, he should really look in the mirror first, but
perhaps there is an element of Heisenberg’s Uncertainty at play here: particles
act differently when they are observed.
In
this case, French photographer Sophie Calle’s “following strangers” work is
more of a touchstone than Heisenberg, Gödel, or any postmodernist theorists. Yet,
ironically, viewers will never feel like they know Mr. Ishizaka very well, nor
will they particularly care to. Instead, his case study becomes a mirror that
reflects the loneliness and disappointments of other characters, particularly Shiraishi
and Shinohara.
In
fact, Shinohara emerges as one of the most significant, emotionally wrenching
figures in the story, thanks to Lily Franky’s performance. It is a wonderfully
subtle turn that gracefully evolves over the course of the picture. He also
develops some acutely poignant chemistry with Aoba Kawai, as his romantic
partner.
Yet,
Mugi Kadowaki matches him step for step and then some (given her considerably
greater screen time) as Shiraishi. It is a quiet but painful revealing performance.
Frankly, she will leave viewers feel exhausted, but not bereft or deflated.
