At its core, A MAN is a narrative puzzle intricately woven with layers of mystery and existential underpinnings. In countryside Japan, Rie (Sakura Ando), a woman impaired by loss, finds comfort in Daisuke Taniguchi (Masataka Kubota), a reserved newcomer to her quiet town. Their relationship develops naturally as they raise a newborn daughter and Rie’s son from her previous husband. The story unfolds with the sudden death of Daisuke from a freak logging accident, a man who is now revealed to be not what he claims to be. When Rie digs into his true identity, the essence of what is real loses credence. This disclosure sets the setting for a gripping investigation of beliefs and the strained boundaries between truth and perception.
Rie gets the help of Akira Kido (Satoshi Tsumabuki), a clever lawyer of Zainichi Korean heritage, whose pursuit of the truth becomes a personal mission. Kido represents strength in the face of discrimination against his background, a study in subtlety and depth, his quiet demeanour masking a flurry of emotions fuming against societal bias. His journey converts the film from a simple investigation into a profound exploration of identity, belonging and the struggle against prejudice. Rie’s evolution from a grieving widow to a woman finding her own truth reflects the broader angst-laden narrative inquiry of the film.
What sets A MAN apart is its contemplation of the nature of existence, questioning the sense of self and the effects of our options on the lives of others. Ishikawa deftly navigates the narrative’s complexities, challenging preconceived notions. With meticulous attention to detail, he transfixes us to the haunting art of René Magritte’s “Not to be Reproduced” with all its metaphysical undertones. The imagery is a profound meditation on the human condition, surpassing individual boundaries that reverberate universally. The subtle score composed by Cicada highlights the emotive turmoil and introspection of the characters as they become restless at defined points. Camera work by SHOPLIFTERS cinematographer Ryuto Kondo is straightforward and practical in its approach. Through its intriguing narrative and deep philosophical insights, the film leaves a memorable arcane mark. In times marked by tension and divisions, A MAN urges us to embrace the mystery of our identities and honour the victory of the human spirit against all odds.
A MAN premiered at the 79th Venice Film Festival and won most of the awards at this year’s Japanese Academy.
The Korean Film Festival is back in 2023 from 24-29 August at Event Cinema George Street, Sydney. Its opening night film is that grand historical murder mystery thriller, THE NIGHT OWL, amidst familial jealousy and political intrigue of Korea’s bygone kingdom.
The biggest film festival in Australia is the Sydney Film Festival which was held for twelve days last 8-19 June 2022, with so many film premieres from prestigious film festivals such as Berlinale, Venice, Cannes, and Sundance, among others. Twelve films vied for competition and the following are my favourites.
