a difficult film to try and describe
because of how unusual the whole movie is: part black comedy, part
drama, and part introspective zinger about the failings of people at
unlike anything else that I have reviewed
over the past several months. The film is humorous, but never in a way
makes it seem like a laugh-out-loud experience. This film is sometimes
at the core when you don't expect it to be, and it manages to bring
issues facing Japan into the spotlight as a main element of the story.
Hospitalité brings amazing
storytelling to the screen in this acclaimed independent Japanese
to cinematic life by writer-director Koji Fukada.
story begins with a missing bird, one of great
important to the family's young daughter. Wanting to please the child,
father and mother begin a search campaign to then find the missing bird
this is where the strange events begin to unfold.
Kobayashi (Kanji Furutachi) is the father of
the daughter and he's no longer with the woman who he had the daughter
who ran out on him (but of course we only learn this information over
course of the story's progression - at first we think that the wife
because of what Mikio says on that subject). This is one house full of
is now married to a much younger wife, Natsuki
(Kiki Sugino), and the surprising thing is both of them get along
well but don't seem to feel any more serious connection. This seems to
obvious to the stranger who is soon to meet them and who approaches
them as the
son of the businessman who decided to invest in Mikio's operations. At
it appears the stranger is only there to inform them that he believes
spotted the missing bird, but before a full day has gone by the offbeat
(Kanji Furudachi) decides to ask for a job and for a room to stay in at
house and business. Surprisingly, Mikio is quick to oblige. Before
invites his "wife" (who isn't actually his wife) into living with them,
the end there's an entire household of foreigners staying there with
escalate into an odd home-life rather quickly.
of the things that impressed me the most about
the film is how its writer-director managed to bring out intelligent
performances from all of the actors. Each performer excelled in
to these quietly damaged individuals. You
can recognize that this story is trying to share an important message
rediscovery and through the kindness we share with others. By the
letting in these strangers they were given a chance to reconnect with
other and with themselves too. They met some additional roadblocks
way, but there was a light at the end of the tunnel for the couple who
this most hospitable house. Kanji
Furudachi was especially memorable as the offbeat stranger who places
the family on a decidedly odd path.
central characters witness the happiness of
people who are strangers to them and strangers to the country of Japan.
all similar to the immigration issues facing America: those who are in
of anyone that wants to live a life in the country they admire most and
who fervently oppose a higher number of foreigners entering a country,
even in pursuit
of an admirable dream for a better tomorrow.
the surface, Hospitalité
is a story about a family running a printing press while trying to
their day-to-day lives and it's about the strange encounters they
over the course of the film. Digging deeper into the film proves
unraveling a humane element about the lack of genuine fairness to
wanting to live in Japan, and the exploration of a family that is on a
wavelength that needs to be fixed.
has a conclusion that is at least moderately hopeful despite a solemn
and sad ending.
The couple could recover. They just have to pick up the pieces. Hospitalité is ultimately about a strained
relationship that needs mending and a group of immigrants who befriend
in the strangest of ways. That's my take on it, anyway. Fukada has
crafted a beautiful
and solemnly sad story worthy of exploration and admiration.
in a 1:85:1 framed transfer which preserves the original theatrical
ratio. The transfer is a bit uneven: some moments are a tad soft and
grainy because of the source material. The print quality itself is
good as the film elements would allow because of the independent,
it never manages to be a perfect looking presentation is watchable and
enjoyable as a viewing experience. The colors never quite "pop" (even
but are appropriate as a subdued cinematography seems to be something
with the film's storytelling style.
Japanese with English subtitles.
quality isn't anything special: this is just a 2.0 Dolby Digital
and one that is without much to do to make it stand out from the crowd.
is clear and clean sounding and is easy to understand and enjoy. This
quiet movie that doesn't have any need for a big sound design. Given
low-budget nature of the production the lack of dynamic audio doesn't
on this release include:
short biographies on cast members, trailers for other film movement
the Monthly Short Film. Each month Film Movements present a new short
accompany a feature-length film release. This month's short film entry
is Miyuki (from director Will McCord).
story about a Japanese girl who
moved to America, has an obnoxious roommate, and who attempts to seek
friends in New York City but only finds herself meeting perverts who
looking for sex. Of course, she did
place a Casual Encounters advertisement and that was the springboard
weird encounters. She was hoping to make some friends this way but her
English didn't help her to understand. The
language barrier led to a cross-cultural
scenario gone-wrong. Original, dcomedic, and well-acted: Miyuki
a nice companion to Hospitalité
efforts are not directly related.
watches the storyline unfold with an offbeat
rhythm that never does cease to end until the final moments. Hospitalité is an unusual film (to say
the least). It's quirky, comedic, sad,
and dramatic. These elements often occur all at once. I'm not always
experiencing a story told in such an unusual way, but here is an
example of a
recent film that managed to pull that task off well. It's worth a look
fans of Japanese independent cinema with its story of damaged and
relationships and immigration issues relevant to Japan today.
Neil Lumbard is a lifelong fan of cinema, and a student who aspires to make movies. He loves writing, and currently does in Texas.