Soko nomi nite hikari kagayaku

This is a really elegantly made film all around. Of course, it's grim but the colors and the cinematography do a good job of highlighting just the right type of tone needed for the narrative and these characters' journeys. And emotional journeys they do take. The actors are really fantastic though, and really do make it a powerful sort of journey, much more effective than I would've thought as how the film started. I do think it's such an uncomfortable viewing experience though, not an easy one and while I can usually handle that, I don't think this is a great film though. Effective, but certain writing issues keep it from getting on another level. Still, recommended.

Despite not being perfect, this film is a brave insight into appaling mysogyny some women still struggle with. The leading actress is great and, dare I say, very beautiful. But her task was not easy and she definitely deserves a lot of praise. However, this film also tells more stories, nuanced ones, about that state of affairs among people everybody is facing. They're never holding the same position in society and, at the same time, they can't always have those necessary skills they learnt somewhere before to deal with it. So, the consequences can't be easy. There's some light on the end of this story (yes, the title is good), but not in the way Western feminists or liberals or conservatives would like. I think that's one of its best qualities. And I'm not thinking about comparison with possible Western solutions, but about the reality of resolutions on the end that is escaping every thinking inside of the box. If they are good, that's the closest they can get.

There are many things that I hated in the story line, which is the reason I gave it low ratings. However, the cinematography was great. The actors, director and d.o.p did a great job

A change of pace from her earlier films, Mipo Oh's murky and perverse film was put up as a Japanese Oscar entry, so someone must have taken it seriously.

Ayano is working through his personal fortune in his twenties (open cut mining back story) when he lends his briquette to loud pinchuko player youth Suda, who invites him back to a home that's as grubby as Ayano's own. He shares it with his infirm sex addict dad, exhausted mother and earthy sister Ikewaki, who we know is going to be important because they play single piano notes under her shot.

A few attention getting moments. The embrace in the sea is one but the frequent shadowed make-out material is too indistinct to have voyeur interest.

The cast are strong and the Hokaido background is unfamiliar but the story and brown out imagery are both tacky.

Great acting all round, especially Masaki Suda in a challenging role that could be grating or sentimental if dialed too high or too low. The story, however, does not stretch to cover contemporary social concerns, and the characters seem to mope around in a melodrama detached from present-day Japan. Whatever Kore-eda manages to capture in Shoplifters seems to evade Mipo O here. The writing, also, relies on too many contrived set ups. Tatsuo is wallowing in self-pity after causing an accident at work, and avoiding everyone - but we are supposed to believe he obsequiously goes home to have dinner with the family of a mentally diminished man he bumped into at pachinko? Chinatsu is street smart and world weary, but she falls instantly in love with the stranger who follows her brother into her living room? The same lazy contrivance sees Tatsuo wander into the very bar where Chinatsu is turning tricks. (And he always manages to leave without paying...). There is something in this story, but it is under the surface, and ultimately under-realized. Lots of good elements, but it doesn't quite gel.