Direction, subject and screenplay: Daisuke Yamaoka
Photography: Kunimatsu Tadanori
Manufacturer: Irimajiri Shoko Mountain-Cross
Running Time: 63 mins.
Release Date: February 14, 2009
Kyoko, a skilled cook, runs with her husband and another member a successful restaurant but when a customer ends up in the hospital for spoiled food, she is responsible for and gets depressed.
Locked up in the closet at home, he is lost in a spiral bulimic feeding on junk food and rejecting the delicacies that the anxiety-inducing as attentive as her husband prepares for her. Try several times to return to work but always conflicts with the strength of her husband and the other shareholder, who consider her eating and mental disorder damaging to the image of the restaurant. Leaves her husband, she flees from a friend, get a job anywhere else, until it finds the strength to start living by working in an unmarked trattoria.
The plot as told may not do justice to what is a movie and felt keen on communication gap and sexual confusion in contemporary Japanese society, often two themes “declared” but rarely seriously addressed. Depression Kyoko, you understand slowly, is yes originated from the shock of the intoxicated customer but also involves the sphere of affection and sexual identity. With her husband there is effective communication and fail to get closer physically. The friend from whom he took refuge when fleeing home, she with her a relationship that seems to foreshadow whether lesbian sadomasochism. The husband, however, when left alone, is portrayed in coexistence with the other partner, which in turn seems to nourish, partially countered, tender feelings towards him.
Touched by Yamaoka it is mild, sometimes parodic but never superficial. The film is based around the great performance of Makiko Watanabe, an actress who, as in Ai no yokan
(The Rebirth) or Toruso
(Torso), is not afraid to take up the challenge of parts “uncomfortable”, from which comes out triumphant. In one of suffering abstract space located ideally betweenYawarakai seikatsu (Its’s Only Talk) and Meshi to otome (Food and the Maiden), his resentful painful silences, his vomiting crisis and its on the scene joy moments are so compelling that no we can not suffer with her and cheer for her.