Dear Lena is a quiet, mostly tranquil movie about issues that run deeper than the calm surface. I truly wished they had touched more on these issues, it would have made this a more complete film for me.

Lena is a descendent of Koreans who were forced to work for the Japanese mining coal in Sakhalin and then later trapped there after WWII. Their story would make an interesting film in and off itself as they fought for citizenship and many fought to go back to South Korea. They became second class citizens in Russia and those who made it home were less than in South Korea as well. Lena wants to bury her parents' ashes in South Korea and becomes a mail order bride to make the trip. This aspect is barely touched on and again, would have given more depth to the story to explore that process.

The male lead is a tea farmer in a remote area which lends itself to some lovely cinematography. He tries very hard to make Lena feel welcome and give her anything she needs. Lena in turn tries to help with different chores to show that she is invested in the relationship. She calls him ahjussi throughout the movie which seems to make their relationship an even further oddity. As she walks to the fields she makes friends with a photographer who is traveling through and begins learning to take photographs. Both the film's cinematography and her photos play a large role. Lena tends to be quiet, walking and taking pictures as she has much on her mind. I wish we'd been more privy to what was weighing so heavily on her.

The last thirty minutes or so give the movie the emotional thrust it sorely needed. While this was a beautiful, quiet movie, it could have been more meaningful if only the director had stirred the calm surface with the emotions running beneath.

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Dong Ju: The Portrait of a Poet is an eloquent story woven around the poet's own insightful words. Shot in black and white, the monochrome film beautifully fits the quiet, intense mood of the short lives of these two young men.

I will leave the historical aspect of this film to those who have a personal stake in it or are more well versed in it than I am.

This film is as much about Yun Dong Ju's cousin and revolutionary, Song Mong Gyu, as it is the poet. Their lives are intertwined, two different ideals in how to resist during a time of hated occupation. One willing to use a gun, the other a pen though at times those lines blur. Their friendship though challenged never waivers.

The story begins and ends with the young men in prison. The present takes place during Yun's interrogation by the Japanese. As Yun is questioned, the past is revealed to show the steps they took to end up in prison. Quoting Yun's poetry to the corresponding events paints the conflicted feelings he had over his role during the dark times and his attempt to find hope in the moment. The tripod of present, past and poetry is perfectly balanced.

Kang Ha Neul gives a restrained and poignant performance as Yun's younger self and later as the tortured prisoner knowing death is imminent, reflecting on his actions and inactions. All the performances are good but his stood out as the titular character.

Dong Ju is an elegantly filmed story of an inelegant and agonizing time told through the courage, defiance and beauty of poetry and a poet.

Prelude

Wishing not to have
so much as a speck of shame

toward heaven until the day I die,
I suffered, even when the wind stirred the leaves.

With my heart singing to the stars,
I shall love all things that are dying.

And I must walk the road
that has been given to me.

Tonight, again, the stars are
brushed by the wind.

-Yun Dong Ju

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This coming of age drama revolved around five friends, three of whose lives were poised on the edge of a knife. Their lives were complicated by poverty, lack of parental guidance and support, and lack of mental health resources. All these kids wanted was to have a better life, to live and to love. Beset by problems, they often made dangerous decisions out of desperation.

The production values of this older Taiwanese drama weren't terribly high yet it felt real and honest. If it had one flaw it's that it confronted too many social issues and was unable to spend enough time on each for the characters and the audience to fully digest their consequences.

Days We Stared at the Sun was gritty, raw, and devastating with glimmers of hope quietly woven through the unlikely friendships.

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Though an extremely simple story, it was not well told. The CGI/Special Effects were very good but should enhance the story and not be the star of it. The two humans were simply along for the ride.

Unless one is familiar with the book it's hard to get a handle on how this world works, because they simply did not spend the time needed to build it for us. The leads bonded together faster than Wolverine and Rogue with a similar relationship dynamic. The gruff, world weary, reluctant hero and the abandoned young woman with a power that frightens people.

It felt like the FL's one acting note she was given was to stand there and look pretty and forlorn. Not a lot of depth to the performance. The ML spent most of his time running and jumping which to his credit, he did well.

The CGI was very good and creative. The problem for me was that the story overly-relied on it and over-estimated how interesting it is without an emotional story to propel the characters through the monsters and labyrinths.

It's a shame they didn't spend a few more minutes developing these characters because there is an interesting story behind the wall of CGI.

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Time manages to weave together the disparate stories of a retired assassin team, the problems of the elderly, assisted suicide and team pregnancy. It brings together a cast of well-known older Hong Kong actors---PatrickTse, Bobo Fung, and Lam Suet and gives them a chance to shine. They did not fail to take advantage of the opportunity to show that they've still got it.

Patrick Tse at 85 showed he could still be a menacing threat as the flying blade assassin who had been relegated to cutting noodles in his golden years. Bobo went from terrorizing her victims with her throwing weapons to singing in a small-time cabaret. Lam Suet, the getaway driver, now suffering from various illnesses and struggling to pay for and receive proper medical care spends his free time with a prostitute he's fallen in love with.

Without being morbid, Time shines a light on the plight of the elderly---illness, loneliness, ungrateful children, poverty, and the knowledge that more sand has run out of the hourglass than remains. The old team gets back together when they find the older population requesting their services and they earn extra spending money respectfully doling out assisted suicide. This works out fine until the blade man discovers his intended victim/client is a teenage girl.

Bobo did an amazing job as the mother with a child who believed because she gave birth to him, she was eternally responsible for him. The fact that he was a grown man who was married and a father and responsible for his own child escaped him. Lam Suet gave a heartwarming performance as the team member who kept them all together, finally getting his chance at a quality main role. The actress who plays the teenage girl was the weakest link in this movie. She was unable to keep up with the rest of the experienced cast. The youth story threatened to take over the narrative, but stopped just short, or maybe went slightly over the line. It did give Patrick's loner character a chance to connect with someone and discover a part of himself he didn't know existed.

There are many touching scenes in this movie and Time deals with its gray-haired characters and their problems with sensitivity and gentle humor. It shows that people of a certain age need love, time, attention, and care. And in the case of Time, it showed that actors who are no longer young still have stories left to tell.

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Delicately crafted and emotionally engaging

If you've had a bad day or are feeling down, I can't recommend this short film enough. Come walk with a 90-year-old woman as she puts on her best dress and shoes to go out and buy tangerines in A Day.

Grandmother finishes the last tangerine for her breakfast as the good spirited, but invalid Grandfather lies on his mat. On her way to the fruit stand to purchase more tangerines she meets women in various stages of life---a child singing on her tricycle, a harried woman in her car, a middle-aged woman hustling for every cent, and a young girl creating paper airplanes out of memories. Grandmother observes and interacts with them with humor and generosity.

The acting is beautifully natural and compelling with few words spoken. Gentle, classical music flows in the background. History reminisced becomes reality rewarded with a tangerine. An undercurrent showing the hardships of elderly poverty never drives away the hopeful mood. Oozing with kindness and bittersweet reflections, A Day is a day trip worth visiting.

“All the time it is the same, ‘Tick tock, tick tock.’”

20 November 2024

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"I went far away only to find nothing was different"

The Breaking Ice was a slice of life film that was more mood than plot. Filmed during the frigid winter in Yangi, China near the North Korean border, the snowy mountainous setting was easily the fourth main character in the story of three young adults disenchanted with their lives and in need of healing and connection.

Na Na leads tours in the Korean prefecture of Yanbian and doesn’t hesitate to ask for tips and good reviews with a smile on her face. Han Xiao works at his aunt’s restaurant in Yangi where Na Na brings the tour groups to eat. Hao Feng has come to town for a wedding. He spends most of his time dodging phone calls about his missed mental health appointments and staring down from the building wondering whether he has the courage to jump. He sees Na Na’s tour group and joins it the next day. When Na Na lets her mask slip around him, he finds a kindred spirit. After his phone is lost with his virtual wallet, Na Na invites him to dinner with Xiao. The three drink, dance, and later sleep it off at Na Na’s apartment. The next day they jump on Xiao’s motorcycle and travel on their own tour of the area.

“Whether I like it or not, I still have to do it.”
Zhou Dong Yu managed to lift dour Na Na above the material and give her emotional depth where the script did not. Liu Hao Ran brought a fragility to Hao Feng even though the writers were stingy with his backstory. Qu Chu Xiao’s Han Xiao wisely underplayed any jealous feelings Xiao might have had as Na Na and Hao became more intimate. The men’s friendship overcame hurdles that would usually derail them. Xiao was a good apple who even gave Hao a coat when they went hiking in the knee-deep snow, showing that the German saying, “There is no bad weather, only bad clothes,” worked in China as well. Though Xiao wasn’t a well-developed character his compassion toward a stranger was revealed in different significant layers.

“I’ve been away so long, I’m not even sure where home is.”
Xiao and Na Na had moved to Yangi and became stuck professional and emotionally. Both of their jobs had been adversely affected by the pandemic and both dealt with family separations. Hao may have had a good job in Shanghai, but he was equally disaffected. The three people were as isolated and closed off as the snow-covered mountains surrounding them. Yet they found warmth and healing connections as they spent time together.

“I don’t want to be alone.”
Director Anthony Chen and cinematographer Yu Jing Pin created beautiful shots of ice and mountainous roads and trails, lighting everything with exquisite care. The interior shots in contrast were warm, although the clubs highlighted the remoteness of the individuals as they drank and danced in the crowd. The film was gorgeous to watch and the music set the mood perfectly. The acting was all on point. My only complaint is that little was revealed about the characters, especially Hao Feng. Sometimes I had to create my own dots to connect. Despite my reservations, I quite enjoyed this film of three people reaching out and accepting each other where they were for the time they had together.

2 November 2024
7.75

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"Only mold grows in the shade"

The Secret Scandal was infuriating and discouraging. Loosely based on actress Jang Ja Yeon’s maltreatment and suicide, it caused this film to be even more painful because behind this sordid fictional story of abuse of power was a real woman who was let down by everyone. If you have triggers, please read the tags carefully.

“Why is one actress so important to you?”
Lee Jang Ho has become an internet reporter after being fired from his television job. He’s diligently covering the trial of men accused of “coercion” and “abetting coercion” for an incident that happened in a club one night. Actress Jung Ji Hee committed suicide after being repeatedly coerced into sexual acts by her manager for himself and other men in power. Bound by a punitive contract, she was unable to get out of it unless she repaid 30 TIMES what the agency had spent on her. A new prosecutor’s mettle is tested when the good old boys draw ranks in order to thwart justice.

“Why would I remember your name?
Ma Dong Seok played Lee Jang Ho in a role where the only thing he fought was injustice. The famous ahjussi hitter did a good job as the reporter fighting to find and reveal the truth, one of the only positive male roles in the film. Lee Seung Yeon felt out of place as the tenacious prosecutor with a baby voice. I would have preferred an actress with a more dynamic screen presence. The film’s execution wasn’t as taut as it could have been. Jumping from character to character and also with numerous flashbacks, it had a tendency to feel disjointed which reduced its emotional punch.

“She’s just a girl”
The Secret Scandal’s story is an important one because 11 years later, the #MeToo movement has petered out against the solid wall erected by authoritative men. A 2010 report claimed that 62.8% of Korean actresses had been asked to perform sexual favors. Since this film came out there's been the Burning Sun scandal and now female acquaintances, co-workers, even family members are being turned into AI porn with few consequences. Men’s reputations and careers are too often valued over the careers and well-being of women’s as this film painfully pointed out. One particularly disturbing scene reminded me of a real-life rape that occurred on camera during the filming of Fatal Vacation (1990). Maybe when there are more women lawmakers, judges, film directors and producers, etc. something will change. It’s just taking too damn long. RIP Jang Ja Yeon, your suffering and life are still inspiring people to fight for the right to be safe and not be treated as a sexual commodity.

12 September 2024

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Neomu masisseoyo!

Jinny’s Kitchen S2 added a new cast member and took the show to scenic Iceland. With cold winds whipping across Reykjavik, the team served up nourishing hot soups to warm their customers.

Lee Seo Jin-“Boss Dimples”, Yung Yu Mi-“Queen of Serenity”, Park Seo Joon “Ace Pitcher”, Choi Woo Shik-“Class Clown”, Go Min Si-“Rookie MVP”, and Relief Dishwasher-“Mr. Beanie” manned the dining room and kitchen doing their very best to give Iceland delicious Korean dishes. Unlike Mexico where the crew served up very simple dishes, the cast took cooking lessons to be able to prepare the more complicated soups which required more prep work as well. Also, unlike Mexico, where Woo Shik had to try and drum up customers on the boardwalk, the line wrapped around the block on the first day much to the cast’s surprise!

Once again, the cast showed off their cooking skills, this time under greater pressure with a continually full dining room. My absolute favorite was Go Min Si. She was quite impressive as a prep chef, Dolsot Bibimbap preparer, dishwasher, and pretty much anything else the head chef of the day needed. She never complained and simply stepped up and did whatever needed to be done no matter how tired she was. Yu Mi was the epitome of calm and organized as usual. Seo Joon managed 6 or more burners with his intense organizational skills. Woo Shik had his day as head chef dancing and joking but also taking the food seriously. He and Seo Jin also took care of the customers in an orderly fashion.

There was a wide variety of customers, both Icelandic and tourists. For the most part English was the communal language for customers and cast. On the first day an Indian American showed up. While familiar with some of the cast, she’d been in Iceland for 48 hours and hadn’t had any rice and was looking forward to the meal. A Korean American customer had lived in Iceland for 4 years and as he ate said he felt most Korean when eating Korean food. People from all over the world settled in and enjoyed the different dishes and drinks. Most assuredly, the popularity of season 1 on Prime brought people to the restaurant eager to be on television, but most weren’t too overt about it. The show didn’t share how much the dishes were this time which I was quite curious about. The only bill I saw revealed was for two women which came to 20,000 Kronur/144 USD which seemed a bit pricey.

While this year was more hectic than last year, I thought it had its own charm. The pop-ups and music made for a lively kitchen scene. Min Si was a great addition as she learned quickly and made the head chef’s job easier. Of course, each of the cast members played to their own strengths and kept things positive with humor and camaraderie. Jinny’s Kitchen is a hidden gem no longer and wherever they might go for S3 they can expect their global audience to show up.

Some of the menu items to tempt you:
Beef Galbijjim
Dolsot Bibimbap
Dakgalbi
Sundubu Jjigae
Ttukbaegi Bulgogi

7 September 2024

*Neomu masisseoyo-So delicious! (according to the subtitles)

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Special of the day!

Grand Maison Tokyo was a “grate” drama where the chefs “whipped” up “un-brie-lievable” dishes all while showing that cooking can be transformative. Broken friendships were “heel-ed” and new ones were created out of the “ingredients” of respect, forgiveness, and the mutual love of “egg-cellent” food. Oh, yeah, there will be puns, I’m on a “roll!”

Obana Natsuki has been reviled as a terrorist for three years ever since his crew in Paris catered a dinner and a diplomat was accidentally given food contaminated with nuts and collapsed. Everyone involved took a hit, the restaurant and chefs, and the politician and magazine writer who extolled and recommended the restaurant. In the world of high-end food making a mistake was nearly a death sentence and some of those involved were looking for revenge.

Hayami Rinko is a fifty-year old chef who desperately wants to work at a Michelin starred restaurant. As luck would have it she and Obana bump into each other in Paris. The persona non grata talks Rinko into a partnership and financially backing a restaurant in Japan assuring her that he can not only gain her a Michelin star, but three. Obana contacts his former colleagues who are also working in Japan with measured success. Many people never want Obana to step foot in front of a stove again.

Obana’s people skills weren’t “berry” “gouda”, even at that he went about solving people’s problems like a “souper” cranky Mary Poppins. Instead of an umbrella, he carried a set of knives. Many of the characters struggled “pudding” up with him until they discovered his heart of gold. At the Grand Maison food and “thyme” mended the deep wounds of the past as those hurt or angered by the scandal found “peas.” While cooking for the chefs was a passion with the “beet” of a religious fervor, they found that they “cod” “yolk” around and find their smiles again. Love for two of the chefs was here today and gone “tomato” as the women in their lives did not like being put on the “back burner.”

It wouldn’t be a food drama without some cooking drama and competitions! Obana and Rinka, along with their team had to discover what ingredients made the perfect “matcha” and plate it in the most “a-peeling” manner. The competing owner of Gaku wasn’t afraid to play dirty and also had deeper pockets for expensive ingredients. Eto was just the “wurst.” He and another invested individual planted “im-pasta-rs” with Team GMT putting the Grand Maison in a “jam” at times. Lucky for Team GMT they had a “latte” “loaf” for creating perfect dishes and ability to forgive “pour" decision-making. They weren’t afraid to “whisk” everything in the search for the most delicious food they could create. When the chefs became discouraged there was always someone to give them a “Riesling” to believe.

Even better than the gorgeous meals the chefs created was their “stirring” loyalty to each other and their “perfect blend” of intriguing characters. Any way you “slice” it, Grand Maison Tokyo was a “mash” made in heaven of good performances, delicious looking food, and engaging characters. It was “shrimply” irresistible.

5 September 2024

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"Life itself has its own life"

If you watched Everything Everywhere All at Once and thought it was overly simplified and spoon-fed its audience, Leonor Will Never Die might be the reality tripping, mind bending movie you want as long as you don’t mind a bare bones budget. Director Martika Ramirez broke the fourth wall and the 5th dimension.

Leonor worked in the movie industry until tragedy struck. Now ten years later, she and her son Rudy barely speak to each other and literally can’t keep the lights on in the house. She decides to dust off an old script and finish it hoping to help pay the bills. Before she can wrap the story up she’s hit in the head by a flying television and sent into a coma. She enters the world of her script and discovers the traumas she’s put her characters through.

The above paragraph sounds similar to other “entered a make-believe world” dramas and films we’ve all seen. Then Ramirez added a ghost that everyone could see, a pregnant man, and strange criss-crossings of realities. She even threw in a song and dance number. I’m not familiar with 1970’s-80’s Filipino action flicks but Leonor’s re-enacted film looked much like old Hong Kong films from the same time with the same chicka-bow-wow music.

I have no idea if Ramirez wrote this to speak about some deeper social commentary. Should we stop extolling violence to resolve problems, poor Ronwaldo was tortured by Leonora’s writing. Was the story a way for Leonor to work through her grief? I spent most of my time trying to figure out what was going on as the characters and story jumped from one reality to the next. At one point, when Leonora disappeared, the doctor told her son to not bother looking for her. She’d seen this kind of bizarre thing before when people needed to finish their stories. The doc looked at the distraught son as if to say, “Writers, am I right?” Martika Ramirez used comedy, violence, family, and supernatural occurrences to take a woman near the end of her life on a trip that could be described as a “dream within a dream*”--- especially if she’d had spicy food and cold medicine mixed with alcohol before bed.

24 August 2024

*Princess Bride quote and/or Edgar Allen Poe

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"It takes time to learn to like yourself"

Director Kim Bo Ra explored the joy and pain of adolescence in The House of Hummingbird. Life for an adult can be chaotic and overwhelming, at fourteen, Eun Hee was neither a child nor an adult. Her world was confined to the two places she didn’t fit in---school and her family.

“How many do you understand?”
Eun Hee’s family stresses education to the point that her brother easily flies into rages and beats her, her older sister has begun skipping school, and Eun Hee has a tendency to fall asleep in class. At home her parents come across as disinterested in her or verbally abusive. Dinners are eaten in silence or with the father berating them. When she has a health concern that worsens, Eun Hee has to deal with it all by herself. Anything resembling emotional support is in short supply. She has an on-again, off-again boyfriend and a best friend she attends Chinese tutoring school with. It is her new tutor who actually sees her and lets her know she’s valuable just as she is that touches Eun Hee and frees something within her.

“We should all live separately.”
There were times watching this I was waiting for someone in Eun Hee's family to snap and commit a mass murder. Her parents would go from a no holds barred screaming match and using a lamp as a shiv to acting like nothing happened the next morning. Vicious words were thrown around at the children and physical blows. Then everyone would shove all the frustrations, anger, and fear somewhere deep inside and live in silence with each other. The two sisters’ needs were especially invisible with a brother in the house. Their mother was in a vicious cycle as she’d had to drop out of school in order for her brother to finish high school, a man who never amounted to anything. As Eun Hee learned from her tutor, even a quality university education did not guarantee happiness.

“Will my life start to shine someday?”
Dealing with physical abuse, insecurities, and fickle friends, Eun Hee learned from her tutor that as long as she had her two hands and could move them, she still had the ability to change things. Eun Hee found that friendships and connections made life more bearable or even simply jumping on a trampoline on a sunny day. Despite the chaos around her, Eun Hee’s resilient spirit began to soar. Bad things happen but so do good.

“What’s the right way to live?
Somedays I feel like I know but I don’t really know for sure.
I just know that when bad things happen, good things happen, too.
And that we always meet someone and share something with them.
The world is fascinating and beautiful.”

23 August 2024

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"This is my prisoner"

If Sergio Leone had been a woman, Indonesian, and used motorcycles instead of horses, he might have made something like Marlina the Murderer in Four Acts. Thankfully, Mouly Surya is a woman and she created this beautifully shot, unflinching look at a woman alone who faced a gang of bandits in a desolate landscape with only her wits and courage. Contrary to the title, Marlina wasn’t a murderer except perhaps in the eyes of the men in the film.

Widow Marlina lives in a remote area tending her livestock. Unwanted guests come in the form of 7 bandits intent on stealing her animals and raping her. Two of the bandits leave with the animals---they were the lucky ones. The next day Marlina sets out walking carrying the leader’s head in a bag with the intention of reporting the incident to the police. Nothing goes easily on the long journey into town and the return trip home, especially with the remaining two bandits searching for her.

When I researched this film in order to submit it to the MDL DB, the words revenge, redemption, and murderer were thrown around by reviewers and in the film’s description. After watching the film, I wanted to ask these people, “did we watch the same thing?” If a man knew he was about to be gang raped and murdered and defended himself would anyone be saying he was vengeful or a murderer? Would he need redemption and forgiveness? Not. A. Chance. I was so proud of Marlina when her friend asked if she wanted to go to church and confess her sins, Marlina replied, “I have no sins to confess.” No, girl. You did not. And her friend, Novi, would understand Marlina’s “sins” before the credits rolled. Marlina may have seen Markus’ headless body following her playing his musical instrument as she traveled to the police department, but it certainly wasn’t out of guilt and the tactic wasn’t used for very long. It actually came across humorously.

Despite a sexual assault, this was not a sexploitation film. And despite defending herself, Marlina was not a kung fu badass. She was a woman who used her wits to protect herself and also tried to do the right thing. When she attempted to report the crimes committed against her, she ran into officials who couldn’t have cared less and would have gone after her if they knew all that happened.

Director Mouly Surya and her cinematographer Yunus Pasolang provided incredible cinematography. The bare, endless rolling hills showed just how isolated Marlina was. This was not an action-packed, fast moving film. The story unfolded at a deliberate pace slow enough that the viewer traveled the long trails and experienced the excruciatingly suspenseful perils with Marlina. I also enjoyed the headings for each act. Setting the mood was a lovely blend of Ennio Morricone* inspired western score and Indonesian music.

Marsha Timothy gave Marlina a gravitas and vulnerability with few spoken words. Dea Panendra as the very pregnant Novi at first came across as a thoughtless airhead, but when thrown into the thick of things Dea displayed a greater acting range as her character faced dire circumstances. Which brings up another thing that women have no control over. With her baby long overdue, Novi’s husband and mother-in-law were convinced it was a sign she’d been unfaithful as the baby might be breech.

Marlina the Murder in Four Acts was a western with a decidedly feminine slant. It was also gorgeous to look at and listen to. Marlina might not have been a gun toting or sword-wielding superwoman, but how many people do you know who could not only protect themselves but wander through the countryside with their “prisoner” in a burlap sack?

6 August 2024




*Composer for such Sergio Leone movies as “The Good, The Bad, and The Ugly” and “For a Few Dollars More”

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"Life is strange"

The Voice of Water showed the progression of Min Jung's career from scam fortune-teller to priestess of the God’s Water cult complete with its own marketing team. Creating a cult was just another business start-up. When her deadbeat dad entered the picture, danger lurked beneath the murky water of greed.

Min Jung’s grandparents emigrated from Jeju Island to Osaka during the island’s turbulent era. Because Min Jung’s grandmother had been a shimbang, her friend Mina talks her into starting a fortune telling gig in order to earn money. When it becomes successful, the young women find themselves with a business plan and marketing team. Min Jung begins to tire of being a priestess as her conscience comes to life. Mina tells her that it doesn’t matter if she’s a sham because if people believe they are being helped, then they are. Min Jung’s father makes an unwanted appearance when he runs afoul of the local yakuza boss. Her estranged father brings trouble as well as an unstable disciple who’d like to take her place.

There was an interesting and cynical premise at the heart of this film, that religion is all about having the power to make people believe and is just another business venture. Whether the cult leaders believed what they were selling was irrelevant. Most importantly, the devotees did and eagerly handed over their hard-earned money. When Min Jung returned from a retreat as a true believer, wanting to save the world, she upset not only the business model but her business team as well.

The film did present an angle I’ve not seen used much by showcasing the Korean-Japanese community in Japan. Min Jung reconnected with her family’s past when she learned about the tragic history of Jeju Island and her grandmother’s life as a shimbang there. Archival photos from this terrible time when 30,000 people were killed and 70% of villages were burned during the clashes before, during, and right after the Korean War with the red scare were shown. Early images of Korea Town in Osaka were shown as well.

The Voice of Water wasn’t all religious scams, Min Jung’s father and his connection to the yakuza brought a malevolent touch. Fair warning, there was a rape scene and talk of sexual assaults if this is a trigger for you. The yakuza story was the least interesting part of the film for me and felt out of place unless it was to say that the crime syndicate also had its tentacles in religious cults as well. I’m sure director Yamamoto showed the reasoning behind the violent climax to the film, but whatever meaning there was attached to it eluded me.

One of the problems this film had was a rather large cast with ill-defined characters. I found it impossible to care about most of them. On her retreat into the woods, Min Jung listened to a tree and was suddenly ready to save the world. Despite her epiphany her character still came across as vague. This was due more to the writing than the acting. Hyunri gave a strong performance as the priestess with a serene façade and party girl afterwards drinking with her friends. I liked that Min Jung and her friend Mina were loyal to each other, but even this important friendship wasn’t given enough details

Fans of director Yamamoto’s other films will want to try this one. For me, there were some engaging elements teased but never fully fleshed out. Ultimately, I found Min Jung’s journey to be long and underwhelming. Water could bring rebirth and death, though enlightenment was difficult to find in the nebulous pool of business.

29 June 2024

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"Don't come back!"

If you are curious about those insanely expensive grapes sold in Japan, The Grapes of Joy gives a tiny insight into how they are grown. I’ll admit the heartwarming part of the story was something that attracted me, but the hyperventilating, inept, female lead hired for her smile dragged it down for at least the first half of the movie. This type of overly-enthusiastic character is hugely popular so this is just my curmudgeonly response to her.

Soma Haruna shows up late to her interview at Minamoto Kitchoan but the president of the company has mercy on her and lets her interview. Her sob story gets to him and she is hired despite everyone else’s reservations. Haruna is shuttled from department to department after making hilarious and kindhearted mistakes until the only place left for her is working in the vineyards where the grapes are grown for the company’s signature treat. There she meets the owner of the vineyard, Akiyoshi Shinsuke, who has no desire for her to work for him. Haruna doesn’t know the meaning of the word “no” and continues to show up every day.

Within the first 30 minutes, Haruna---fell dramatically twice, was late for her interview, lost her wallet, lost her phone, presented an error riddled resume, ruined two batches of candy, left the candy store and register unattended, got lost, ran a customer off with her pushy, unrestrained enthusiasm, nearly ruined expensive grapes, demonstrated no self-awareness or ability to follow simple instructions, and was unable to comprehend when people were making fun of her. I know I was supposed to be charmed by her, but I sympathized with her supervisors. I wouldn’t have hired her to water my houseplants while on vacation. At one point when she was relegated to making copies I wondered if she’d accidentally and hilariously burn the building down. Of course, Haruna discovered Akiyoshi’s secret pain and worked to save not only the grapes for the company but also heal the older man’s heartache.

I found the grape growing aspects of the film interesting though there wasn’t much to be learned. Haruna calmed down the longer she worked at the vineyard and began to think beyond her own desires around Akiyoshi, which helped my viewing experience. The Grapes of Joy worked hard to be heartwarming, maybe a little too hard and obviously.

15 July 2024

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