All eponymous women in Nobuteru Uchida’s fifth feature film are broken. They are not just broken, they are either devastated, oppressed, depressed, hysterical or monstrous. They are gathered under the collective noun “women”, defined and described by a man.
There is a lot of pathos to deal with in this Moscow International Film Festival main competition drama: theft and betrayal, psychological terror, a grueling parent, suicide, arrest, bullying, the pouring rain – it’s all there, set against the backdrop of the first Covid-19 outbreak in Japan, and to the melodramatic score composed by Kazune Tanaka. Instead of tissues, a cheese grater is required.
After failing to find a job upon graduating from the university of Tokyo, Misaki (Yukiko Shinohara) is stuck in her rural hometown with her handicapped mother Mitsuko (Atsuko Takahata). She endures a horrendous day-to-day abuse by the parent who maybe suffered a stroke which did impair her mobility,...
There is a lot of pathos to deal with in this Moscow International Film Festival main competition drama: theft and betrayal, psychological terror, a grueling parent, suicide, arrest, bullying, the pouring rain – it’s all there, set against the backdrop of the first Covid-19 outbreak in Japan, and to the melodramatic score composed by Kazune Tanaka. Instead of tissues, a cheese grater is required.
After failing to find a job upon graduating from the university of Tokyo, Misaki (Yukiko Shinohara) is stuck in her rural hometown with her handicapped mother Mitsuko (Atsuko Takahata). She endures a horrendous day-to-day abuse by the parent who maybe suffered a stroke which did impair her mobility,...
- 4/30/2021
- by Marina D. Richter
- AsianMoviePulse
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