Based on a manga Tekkon kinkurito (1993) by Taiyo Matsumoto, Treasure Town is a breathtakingly-beautiful animation about two orphaned boys: street-wise and brave Kuro (Black), and lovable and innocent Shiro (White). Street-raised Yin and Yang of the cruel world around them, the boys defend their only home – the “lost city”, the “city of myth”, the Treasure Town. First their opponents are simply rival gangs, but they soon notice the encroachment of a much more powerful enemy: the yakuza. Members of the notorious Japanese mafia have certain drastic, commercial designs on the city, and the duo of brothers feel that they cannot just give away their decrepit town full of wonder, their small, bizarre universe, their home. This colourful, sometimes violent, but grimly-realistic, animation packs inside much commentary on social issues relevant to Japan, and has both, a touching emotional core (the brotherly love) and a clever structure and plot.
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Departures is the winner of the 2009 Academy Award in the category of the Best Foreign Language Picture. Loosely based on a memoir by Shinmon Aoki titled Coffinman: The Journal of a Buddhist Mortician, it tells the story of Daigo Kobayashi (Masahiro Motoki), an ex-cellist who comes to his home town and finds a very undesirable employment as a nōkanshi, a traditional ritual mortician in Japan. The profession attracts strong societal criticism and prejudice, and soon Kobayashi has to justify his choice not only to his wife and those around him, but also to himself, while finding the courage to finally face the most hated man in his life – his own father. Departures is a wonderful film full of humour and touching moments. This film about one man’s journey of self-discovery and finding forgiveness is also an admirable attempt to challenge and to help alleviate the nonsensical and unfair discrimination faced by people who work in this very difficult and challenging profession in Japan.
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The Third Murder (2018)
“People hardly understand members of their own family, let alone strangers” (Shigemori Akihisa in “The Third Murder”).
This film by an acclaimed Japanese director Hirokazu Kore-eda (“After the Storm” (2016), “Shoplifters” (2018)) begins with a scene of a murder in progress. A man kills his boss in cold blood and burns his body. The man – Misumi (Kōji Yakusho) – has previously been in prison for around 30 years for other two similar crimes he had committed. A legal team prepare a case, but since Misumi has confessed, there is nothing much to debate or investigate, and the sentence of death penalty looms over his head. The case of Misumi seems to be an open and shut one, or does it? When a new lawyer Tomoaki Shigemori (Masaharu Fukuyama) takes over the case, he slowly begins to realise that something does not make sense in Misumi’s confession, and the centrepiece of confusion is the motivation of the killer. It also does not help that Misumi starts to change his story of what happened with an astonishing ease and conviction. In Kore-eda’s legal drama, it is interesting to uncover both personal connections to the case and the foreign legal system’s intricacies, but the quiet beauty of the picture can still be found in the slow unveiling of the truth.
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