In
the case of Naomi Kawase’s films, it would be particularly difficult to write
audio descriptions for visually impaired patrons, because of the delicate way she
employs light. She probably understands this, because she obviously invites
sympathy for Misako Ozaki, who is writing a descriptive script for a slightly
less arty but still demanding film coming soon to Japanese theaters. Unfortunately,
she has a harsh critic in her focus group, who also happens to be partially
sighted. Yet, they will make a connection, at least to some extent, in Kawase’s
Radiance (trailer here), which screens
during the 2018 Japan Cuts Festival of New Japanese Film.
Most
of Ozaki’s beta testers are supportive, but not Masaya Nakamori. Initially, his
criticism stings, but she soon learns he has good reason for his bitterness.
Nakamori was an internationally renowned photographer, but his degenerative
condition has forced him to give up his passion and vocation. Similarly, Ozaki
is not the shallow young thing Nakamori presumes her to be. She is dealing with
some pretty heavy issues of her own, including the recent death of her father and
her mother’s progressive dementia.
So
maybe they can forge something between a friendship and a romance, at least for
a short period. In any event, it will not be the Nicolas Sparks style romance
the international one-sheets clearly promise. Kawase does not do conventional romance,
but issues of communication, perception, and aging are all in her power zone.
Without
question, Sweet Bean is and will
probably always be Kawase’s most commercial film, by a country mile. Still, Radiance is more accessible than
representative works like Still the Waters or Mourning Forest. In
many ways, it is a film lover’s film. In fact, it intriguingly suggests Ozaki’s
focus group members effectively experience the same film new several times
over, because her evolving approach to the descriptive script makes it something
different each time. There is something provocative in that notion that we wish
Kawase has devoted even more time to flesh out.
Nevertheless,
Ayame Misaki, previously best known for franchises like Tokumei Sentai Go-Busters and Attack
on Titan, is a genuine revelation as Ozaki. She is exquisitely expressive
and sensitive, but also remarkably disciplined. In short, she is perfect for a
Kawase film. Masatoshi Nagase (who was so quietly perfect in Sweet Bean) literally rages against the dying
of the light as Nakamori, in an acutely human kind of way. Tatsuya Fuji also
adds some wry seasoning as the director and lead actor of the film Ozaki is
laboring to describe.
