The striking
similarities in Kōji Fukada’s fabulous, prescient and lacerating, albeit hugely
underrated, sophomore film Hospitalité
and his Cannes Jury Prize winning Harmonium
nearly made them companion works; both centered on bourgeois, suburban Japanese
families – sterile married couples tenuously bound together courtesy their kid
daughters, with self-run workplaces located as appendages to their homes –
whose banal existences get spectacularly disrupted by the arrival of mysterious
men who crash into their cloistered lives. Yet, there were significant tonal
and thematic departures too – a pungently satirical take on xenophobia and
societal hypocrisy, gleefully bordering on the farcical, in the former, as
opposed to a sombre study on loss and grief in the latter. Mikio (Kenji
Yamauchi) is a soft-spoken middle-aged man married to the attractive and much
younger Natsuki (Kiki Sugino); a little daughter from his first marriage and
his recently divorced sister make up their nuclear family living in a compact
house – where the ground floor serves as a small printing shop that he runs –
in a conservative Tokyo neighbourhood where a hyperactive citizen’s watchgroup is
driven by their wanton fear of and proud prejudice towards poor immigrants. The
family’s fragile stability starts unravelling when Kagawa (Kanji Furutachi), a
straight-faced confidence man with mysterious motives, literally installs
himself in their home and lives. Thereafter, the narrative proceeded like an
exquisitely structured progressive musical composition – on an amusing note to
start with, and the tempo being deliciously upped with each new development
marked by deadpan humour, before bursting into operatic extravaganza. The
bristling social commentary was counterpointed by Fukada’s assured
craftsmanship, and aided equally by a fine cast led by a terrific Furutachi as
the film’s straight-faced driving force.
Director: Koji Fukada
Genre: Drama/Family Drama/Black Comedy/Social Satire
Language: Japanese
Country: Japan
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