The Japanese actor Okuno So is marked in the memory of the universal spectator, not only for his beauty and the splendor of his black eyes or beautiful smile, but, above all, for his extensive command of the stage, for his extensive filmography despite of being only 25 years old.
Of the dozens of titles to which it has given a face, there are several that are sacred pieces of audiovisual heritage, especially for BL lovers. Shibata Keisuke ('Sahara Sensei to Toki-kun', 2024) and Takahashi Yuya ('Blue Birthday', 2023), two of the most exceptional Japanese directors of all time, caught their eye, very early, and summoned him to take part in 'Sukiyanen Kedo Do Yaro ka', from 2024, in the role of Nakatsu Mizuki, the ex-boyfriend of Sakae, one of its protagonists.
This series, together, fundamentally, with the film 'The Novelist: Playback' and the drama 'Given', both from 2021, placed it at the forefront of global attention, both from the viewer and the most significant Japanese directors.
His brilliant career as an actor gains strength through the three works included and, furthermore, through the miniseries 'High-Speed ​​Parahero Gandeen', directed by director Tsujimoto Takanori, in 2021.
The young actor's on-screen respectability increases after his collaboration with Japanese director Yamaguchi Junta in the 2022 series 'Koi ni Mudaguchi', in the drama 'Boys! Please Kiss Him, Instead of Me', by writer and director Hiranuma Nohirisa, and in many other series, such as 'Say Goodbye If You Love Me' (2022), 'Joshikosei, So ni Naru', (2023), 'Shufu Maison ', by director Ueda Hisashi, in many of them as the protagonist, or in films such as 'The Setting Sun', directed in 2022 by Kondo Akio and 'Gray Wall Gear', from the same year or 'High&Low: The Movie', from 2016 .
The performer has been pragmatic in balancing his interests on screen. He earned his aura as a magnetic actor, capable of moving on the sets of several demanding filmmakers. Let's not forget his starring role in films such as 'Kamen Rider: Reiwa the First Generation', by Sugihara Teruaki (2019), 'Kamen Rider Zi-O: Over Quartzer', by Tasaki Ryuta (2019), and the series 'Kamen Rider Heisei Generations FOREVER', by director Yamaguchi Kyohei, (2018), 'Kamen Rider Zi-O' (2018 – 2019), directed by a group of filmmakers.
For his part, actor Toyoda Yudai means sure success and a full box office, and the public has supported him since he put a face to so many iconic characters in Japanese film and television, in the feature films 'Red Bridge', 2022, 'Youkai Sharehouse: The Movie (2022), directed by Toyoshima Keisuke, 'Father of the Milky Way Railroad' (2023), by Narushima Izuru, and in the series 'Saiko no Seito: Yomei Ichinen no Last Dance' (2023), 'Fufu no Himitsu ', 2024, 'Renai Battle Royale', releasing in August 2024, 'Sorette Pakuri Janai Desu ka?' (2023), from directors Nakajima Satoru and Uchida Hidemi, 'Numaru. Minato-ku Joshikosei, by director Goto Yosuke, from the same year.
The participation of Okuno So and Toyoda Yudai in 'Cosmetic Playlover' increased the fascination for the two. From director Shindo Takehiro, who has films with LGBT+ themes such as 'Closet' (2020) among his work, he gives us a story that revolves around Mamiya Natsume, a diligent, kind and serious young man who keeps all his problems to himself. She has managed to make her childhood dreams come true, and today, as a beauty assistant, she performs hygiene, care, maintenance and beautification tasks on clients' skin, face and body.
Her great understanding of products, brands and services in the area of ​​cosmetology has earned her fame among Japanese women, who have as one of their main goals to have firm, radiant and extra white skin, based on the ancient tradition of paint their faces with a white powder called oshiroi.
In a microuniverse dominated by women, Natsume (Okuno So) is self-confident in his work life, but not so in his personal life. Her world is turned upside down with the arrival of junior Sahashi Toma (Toyoda Yudai) at the cosmetics store where she works. His new partner, who relies on his beauty to attract clients but does not take his job or Natsume's pertinent advice seriously, manages to outsell and annoys Natsume because he tries to act like a good superior.
But from animosity to love there is only one step. The senpai's feelings of love for his junior appear when Natsume discovers that his heart beats fast, although it irritates him, while Toma recognizes Natsume as the only person who admires him for his skills and efforts in the effort to provide happiness to his clients.
Natsume will soon forget that since he was a child, when he discovered his passion for the work he currently does, he has been secretly in love with Tanouchi (Nakamura Yuichi), his senpai, a heterosexual man, father of a family.
However, the lovers' happiness will be put in danger with the arrival of Nanjo Atsushi (Sono Shunta) at the store where they work, or the constant trips they must make abroad for work reasons. While Natsume's parents and sister come to terms with his sexuality, Sahashi lives away from his family, and will see Natsume as his only family member and the person with whom he wants to share his life.
The conjunction of that pair of faces captured by the camera represents, for some, absolute physical perfection on Earth.
Kanasugi Hiroko, one of the most significant Japanese screenwriters, author of 'Takumi-kun Series 1: And The Spring Breeze Whispers' (2007), 'Takumi-kun Series 2: Rainbow Colored Glass' (2009), 'Takumi-kun Series 3: The Beauty of Detail' (2010), 'Takumi-kun Series 5: That, Sunny Blue Sky' (2011), 'Killing Curriculum: Jinroh Shokei Game - Prologue', 'Udagawachou de Matteteyo', 'Sukitomo' (2007 ), and the series 'Fukou-kun wa Kiss Suru Shikanai!' (2022), among many other films and dramas, adapts the manga series "Cosmetic Playlover" (コスメティック・プレイラバー) by Narashima Sachi, to tell us about this gay relationship between coworkers, against the background of the competitive cosmetics industry.
I am struck by the idea of ​​putting two men to work together to attract female clients, as well as making Japanese aesthetics visible, related to the standards of what is considered taste or beauty in Japanese culture. Considered a philosophy in Western societies, the concept of aesthetics in Japan is seen as an integral part of daily life.
Beyond recounting the romantic and work experiences of Toma and Natsume, 'Cosmetic Playlover' serves as a portrait of Japanese aesthetics as a variety of ideals; some of these traditional and others modern or influenced by other cultures, especially Western ones.
The series undoubtedly succeeds in showing the most fascinating face of Japanese male beauty assistants, who, in this case, are not united only by their delicate work in the tasks of beautifying the skin, face and body of Japanese women.
The sensitivity with which it is narrated is evident in the most moving scenes, capable of showing with great honesty and with complete naturalness the relationship between the two protagonists, their evolution throughout the time shared in the workplace and in the Toma's house, where Natsume will move to live the romance with the person he loves.
Despite being a series that seems aimed at a very specific audience, the truth is that its intrinsic quality deserves good consideration by the public and specialized critics.
Okuno So's performance is one of his best works to date and has served to demonstrate that his fame is very well achieved.
For his part, Toyoda Yudai's role in 'Cosmetic Playlover' is undoubtedly a challenge, giving life to a young homosexual for the first time in his already extensive filmography. The young actor manages to successfully overcome the challenge thanks to his fantastic performance, which he gives with the vitality, romanticism and desire to grow professionally and personally that characterize his character.
The chemistry between the two actors on screen gives rise to beautiful scenes of physical interaction that audiences who love romance in general and BL in particular will appreciate and appreciate.
'Cosmetic Playlover' exudes subtlety and good taste. The costumes, both the modern one and the yukata, the traditional Japanese clothing made of cotton that we see worn by the characters at the summer festivals where they come to enjoy the show, are taken care of down to the smallest detail.
Another strong point to highlight is the excellent photography, while the soundtrack has some really beautiful songs with very suggestive melodic themes.
In summary, the series is recommended for several reasons: for its faithful reflection of a reality that is absolutely fascinating for Japanese women and beauty consultants, for its sharp and elegant sense of combining humor and drama, for the strong performances, especially from the two protagonists, and for the honesty of their approach.