-by Mahima Rawat
How do you generally like your films? Plots that are straight as an arrow or storylines with serpentine twists and elements of surprise?
As for me, I am a huge fan of the stories that shock and overcome clichés. They exist to not make you relate to them but to shock you, make you uncomfortable, get you out of your own head and to question you. The kind that makes you judge your own morals and your understanding of right from wrong. And THAT kind of cinema exists only because of some genius directors like Ryusuke Hamaguchi. If you are an aspiring filmmaker, I strongly recommend studying his works to gain valuable insight into powerful and impactful filmmaking.
Born in the year 1978 in Kanagawa, Japan, Hamaguchi can be called something of a mastermind. He is known worldwide for his conscientious direction and poignant style of storytelling. His second feature film ‘Passions’ which was also a project for his thesis at Tokyo film school came out in the year 2008 and has a laid-back feel, brimming with an energy typical of indie movies. A group of friends meet up after a long time only to realise that their paths are diverging, reminiscing about their romantic entanglements amidst an engagement declaration disrupts their harmonious dynamic. Rather than relying on superficial dialogue, sincere conversations that are rich with subtext allow viewers to glean insights into the motivation and inner thoughts of the characters. In my opinion, his characters, who on the one hand, seem vulnerable and accessible, their circumstances, struggles and experiences might make them unapproachable on the other. The intricacies of human relationships and emotions with a deep sense of realism and sensitivity are often explored in his works.
For instance, Asako from Asako I and II (played with finesse by Erika Karata) navigates the unpredictable terrain of love and self-discovery when she meets Baku and later Ryohei (both played by Masahiro Higashide), who bear an uncanny resemblance to each other, though they are like chalk and cheese in their personalities. In the film, we empathise with the more guileless Ryohei, but we are constantly pulled towards Asako and Baku who simply seem unreachable. The audience too is taken on an introspective journey through their own personal experiences both in love and life, further assured that given the right trigger, our own (re)actions can betray us.
In Drive My Car, which is an adaptation of the story Men WIthout Women by Haruki Murakami, Hamaguchi depicts the profound sense of grief, loss, and the complexities of human relationships, all set against the backdrop of Japan's stunning landscapes. Central to the film's success is its richly/meticulously developed characters, each brought to life with nuance and depth by a stellar cast. The protagonist, played with incredible skill by Hidetoshi Nishijima, navigates a quest of self-discovery and healing in the wake of personal tragedy. His interactions with the other characters, particularly his enigmatic chauffeur Misaki (played by Toko Miura), add layers to the story, each character contributing to the overall tapestry of emotions. The film's strength lies in its ability to transcend conventional narratives.
In both these movies, the ingenious director along with his cinematographers (Hidetoshi Shinomiya & Yasuyuki Sasaki) employ well structured framing, lighting, colours and carefully arranged mise-en-scène to draw attention to key aspects of the story or characters' emotional states. Especially in Drive My Car, where a lot of the conversations are taking place inside the red car. Despite it being a solitary space for Yusuke Kafuku, the car also becomes a safe space for bonding and interaction. Through conversations with others, particularly with Misaki and with her dead wife’s boyfriend, the protagonist forms meaningful connections and grapples with themes of empathy, understanding, and human connection. Thus, the car itself becomes a metaphor for journey and transformation.
Also in Asako I and II, the intimate framing and the use of natural light capture the essence of the characters' inner worlds, often through lingering shots to explore their emotions and relationships to create a sense of authenticity and intimacy. I believe that Ryusuke Hamaguchi’s brilliance as a visual storyteller with a distinct and compelling voice marked by sensitivity, sophistication and attention to detail to weave stories/plots that resonate on both an emotional and intellectual level should be included in curriculum for learning filmmaking.
Other movies to check out by Hamaguchi- The Wheels of Fortune And Fantasy, Evil Does Not Exist, Happy Hour, Heaven is Still Far Away and more (available on various platforms).