Movie Review – Japanese Girls Never Die (NYAFF 2017)

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EXPECTATIONS: A fun, anarchic story about obsession and media scrutiny. And of course, YU AOI!

REVIEW: For those who have read my reviews, it is well known that I am a huge fan of Japanese actress Yu Aoi. Ever since I saw her in Hana and Alice (which was my first Japanese film I ever saw), I have been a huge fan of her work; particularly with how soulful and precise her performances are, without any reliance on overacting or histrionics.

But funnily enough, she was just one selling point of this film. Another selling point were the themes of sexual discrimination and misogyny and how it is explored and defined in present-day Japan. Some of my favourite or memorable films of recent years happen to be films set in Japan and were about the same themes i.e. Pun Homchuen & Onusa Donsawai’s Grace and Sion Sono’s Tag and Anti-Porno.

So when I heard about the film, Japanese Girls Never Die, was going to have both Yu Aoi and the same thematic material as the films mentioned earlier, it was just too exciting to pass up. So does the film live up to my expectations? Or will it just end up being in a dark alley, beaten to a bloody pulp?

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The film starts off with a bunch of misfits causing havoc by spray painting stencils of a missing posters. The film also features a gang of high school girls who are infamous for beating up men with baseball bats (A Clockwork Pink? Okay, I’ll stop.). The face on the missing poster is 27-year old Haruko Azumi (Yu Aoi), an office worker who is unhappy at work, at home, and with her unrequited yearning for her childhood pal turned neighbour (Huey Ishizaki), who just happens to be beaten up by the same gang of girls.

A typical day of Haruko is filled with misogynistic and perverted male bosses making inappropriate comments about the age, appearance and relationship status of their female employees, all while trying to hire another female employee. By night, she navigates the stresses of living with her family of three generations, with her stressed mother and her aging grandmother.

We also have 20-year old Aina (Mitsuki Takahata), a spirited and bubbly girl who thrives on fun and excitement. She thinks she has found it in a form of a potential boyfriend, Yukio (Taiga) and the two apparently hit it off. But Yukio has other ideas with Aina, but on the side, he starts off a grafitti team with his friend, the shy Manabu (Shono Hayama) and starts tagging the city. As Aina spots the two, she joins in and they all get inspired by a missing poster that happens to feature Haruko, and a viral sensation is born.

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So basically there are two stories going on and the film is played out in a non-linear fashion, which admittedly  takes quite a bit to get used to the storytelling technique. But when you consider the unbelievable sides (including fantasy and wish-fulfillment plots)  and realistic sides of the story (loneliness, ennui and sexual discrimination) are blurred together, it actually becomes very effective, as it conveys the themes of the story in an entertaining and distinct manner.

And we got through a lot of themes here. Whether its office politics, family dynamics, portrayals of art, gender politics, Japanese pop culture, capitalism and many more, the film is absolutely jam-packed with ideas, with surprising replay value.

A lot of the credit goes to cinematographer Hiroki Shioya and editor Satoko Ohara, whom give the film a distinct look and feel, which applies to all three acts (and stories), leaving them easy to discern.

Even the use of pop culture, which director Matsui uses a lot in his prior films like Wonderful World End, (which is completely evident of perpetuating sexual objectification) is used in a satirical and metaphorical fashion.

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Even with all of the hard work going on display from behind-the-scenes, the film also packs an amazing performance from Yu Aoi. Showing subtlety, restraint and even a certain sense of cool whilst hinting a sense of anger, resentment and hostility, Aoi totally inhabits the character to the point that her screentime has a larger impact than expected. And yes, even with the expected posters and grafitti plastered throughout the film.

Mitsuki Takahata, whom I last saw in Jossy’s, is bubbly and energetic as Aina, and although she might seem a bit petulant at first, she provides a fine contrast to Aoi’s performance, as the two make it easier to see both generations shown offsetting each other very well.

The supporting cast are all good, with the men (including Taiga, Shono Hayama and Huey Ishizaki) giving relatable, yet pathetic performances, while the women (including Akiko Kikuchi and Maho Yamada) make the most out their small roles. Particularly Yamada, who has some of the best and incisive lines of the film.

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As for its flaws, not all of the ideas in the film are explored equally due to there being so many; the storytelling can be a bit off-putting in its intent in its non-linear fashion and the ending is a bit overdone, although it features a great animated cut-scene by Ryo Hirano.

But the message is loud and clear and Japanese Girls Never Die delivers that message in an exuberant, vibrant and even slightly poignant fashion. And with Yu Aoi as the face (and the heart) of its message, the film will linger in one’s mind for quite a while.

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Quickie Review

PROS

Fantastic performance from Yu Aoi

Good supporting cast

Exuberant direction, vibrant cinematography and precise editing

Much thoroughly explored thematic material to mull through

CONS

Overworked ending

Polarizing storytelling

Not all ideas are explored equally

SCORE: 8/10

Cast: Yu Aoi, Mitsuki Takahata, Taiga, Shono Hayama, Huwie Ishizaki, Ryo Kase, Akiko Kikuchi, Maho Yamada, Motoki Ochiai, Serina
Director: Daigo Matsui
Screenwriters: Misaki Setoyama, based on the novel “Azumi Haruko wa yukue fumei” by Mariko Yamauchi

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