At the heart of its believability is the naturally endearing performance of Kamiki Ryunosuke as Koshirо̄, a crucial character as he has to be likeable and naive simultaneously, uniting mistrusting elements of his family, and eventually emerge as a leader. The supporting leads perform well as an ensemble, with the right blend of comic charm and drama. Hana Sugisaki, as Sayo, the feisty girl neighbour of Koshirо̄, provides the right chemistry as the love interest and sidekick.
The period piece storyline flows with enough highs and lows to keep the contemporary audience attuned. It is not what it seems when one moves into a family of power and supposed wealth. Life does not necessarily become better, and stress-wise, it can even get worse. Koshirо̄’s father, Daimyo Ikkosai, has never been really forthright on his intentions with his son. And yet, familial support can be found in unexpected places. Koshirо̄’s good relationship with his brothers, for instance, has been pivotal to supporting his plans, and their moments together are also quite moving scenes in the movie.
In essence, the film is a Japanese fable of determination and entrepreneurship amidst the corruption and politics of the powers that be. What is explored in this Japanese tale of group unity and focus is the underlying Japanese psyche of individual perseverance, hard work and ingenuity. And these noteworthy national attributes are valuable trait qualities for the rest of the world as well.
It was a great opening night film for this year’s Japanese Film Festival at the Palace Norton cinemas.
The Japanese Film Festival hosted a nice reception for the flm.
The Sydney Film Festival 2025 took place from June 5-16, coinciding with the King’s Birthday long weekend as it marks the start of winter.
The recent French Film Festival featured a generous 54 films in their lineup. Out of this eclectic collection, I am recommending 23 of them as the best of the lot.
