Introduction Mizuki Kiyama’s graduation short film Bath House of Whales is a creative reworking of her memories of accompanying her mother, a person of Korean descent living in Japan, to the public baths. Bath House of Whales (2019) was also screened at the Pia Film Festival, where it won the special jury prize.
“Maruyama’s narrative speaks powerfully to the spectator’s subjectivity – his fears and hopes – and enables his evocation of a glimmer of hope that remains present in this dark depressive modern relational mess to positively impact his audience.”
“A visually engaging narrative about the nature of happiness and the importance of desire that is highly relevant for Japanese youth.”
“A pleasant and truly satisfying ride for the whole family.”
A heartwarming and lighthearted narrative that shows how women, within the societal device of arranged marriage as well as within the modern device of marriages out of love, can find subjective happiness.
“A great narrative that succeeds in exploring the very way that imaginary injuries and resentments erode family bonds, by causing a subjective blindness for the suffering of the other.”
A great experiment of the absurd, but its full potential to satisfy the spectator is hindered by its somewhat lackluster composition.
A beautifully composed and highly relevant narrative about destructive kinds of social violence, a social violence against the Otherness present in the community and an ostracizing violence to turn the once-trusted other into an unwanted Otherness.
A great narrative, offering a nuanced and rich exploration of interpersonal dynamics, that ultimately fails in giving this rich tapestry of interpersonal conflict a fitting finale.
“A charming exploration about the way in which the other allows a drifting subject to moor his desire and find a direction for his subjectivity within the Other.”
Lindsay tells truths we need to hear and delivers them in an understated but visually pleasing way.
Beautifully evokes how women become victim of the traditional patriarchal elite and how subjective happiness is not found in the mere acceptance of one’s own exploitation
A satisfying and touching drama that highlights the importance of acknowledging about one’s loss and confronts us with the fact that, for the subject, his/her loss is, first and foremost, a loss of an ideal image.
Fukagawa offers an enlightening insight into the problematic position Ainu culture holds within the broader Japanese Other and the subjective problems being born in these two Others can cause.
While Not Quite Dead Yet is about the importance of communication and about assuming a desire as subject, Hamasaki’s narrative delivers its message in manner that is, when all is said and done, not alive enough.