Japanese by beginning, French at coronary heart, filmmaker Nobuhiro Suwa has emerged as one in every of the most prolific worldwide filmmakers on the scene as we speak. After filming his final three characteristic movies in France (‘A Good Couple’, ‘Yuki and Nina’ and ‘The Lion Sleeps Tonight’), The director returns to his native nation with ‘El telefon del viento’, proven in the Albar part of the Gijón Pageant 2020 and at the D’A Movie Pageant 2021. A movie that collects the most attribute components of his filmography, captured in a cathartic street film.
Born in 1960 in Hiroshima, Suwa belongs to a technology after the one who skilled the tragedy of the nuclear bomb and its most rapid penalties. After getting nearer to his personal reminiscence with ‘H Story’, by which he paid homage to the iconic ‘Hiroshima, mon amour’ by Resnais, Suwa now seems at one other nice tragedy that has marked Japan as we speak, the 2011 earthquake and tsunami, which left 15,893 useless, 6,152 injured and a couple of,556 lacking. And Suwa approaches this tragedy by making an statement that marks the movie and that additionally serves to spotlight Japanese society: the impossibility of closing wounds in a system that seeks to show the web page first.
And that’s the place Suwa focuses, making a street film that follows Haru (Serena Motola), a teen affected by Survivor Syndrome, residing together with his aunt in Hiroshima after his village, Ôtsuchi, was washed away by the tsunami, his dad and mom and little brother dying in the catastrophe. It’s the filmmaker who creates the hyperlink between Hiroshima and Ôtsuchi, between each tragedies, by setting the starting of the movie in a single metropolis and ending it in the different. Symbolically, Suwa makes a simile, in the sense that the explosion of the nuclear bomb and the tsunami provoked a social response with which it was sought to show the web page as shortly as attainable, with out stopping to replicate and stay a duel, be it particular person or collective.
And that is the place the wounds don’t heal and the place that private journey that Haru begins after his aunt suffered a stroke enters the scene. On this journey, It’s the place Suwa’s hand is seen, his dedication to improvised dialogues and to work together with actuality, being an genuine street film that takes the public from one finish of the nation to a different, whose background finally ends up having the addition of a sequence of secondary characters that painting the present state of affairs of the nation, Haru being from a depressed man to a middle-aged lady age who has determined to be a single mom at her age -something daring for Japanese society-, with out forgetting the machismo and the hazard that the younger lady can undergo simply because she is a girl.
A cathartic journey and a sociological expertise. A brand new triumph for Suwa
Amongst these fleeting strangers, stand out, on the one hand, how Suwa portrays the refugee disaster in Japan, a state of affairs not often proven, taking a look at the precariousness by which a Kurdish household lives and the way they adapt to the host nation. On the different hand, it’s Morio (an impressive Hidetoshi Nishijima), a former Fukushima plant employee who finally ends up being a type of father determine to the younger lady, particularly as a result of she is aware of the tragedy first-hand and, like her, has not managed to beat the duel.
The humorous factor is that its title, in each Spanish and Japanese, refers to a component that behaves elliptically on the tape and is impressed by actual occasions. In 2011, Itaru Sasaki arrange a telephone sales space in a backyard to speak together with his deceased cousin. Exactly after the earthquake and subsequent tsunami of that 12 months, a number of folks got here to the cabin to mourn their useless. With which, In a means, Suwa pays tribute to them.
That journey to the origins to shut the wound and say goodbye to the useless makes ‘The wind telephone’ in an impressive proposal that as soon as once more demonstrates Suwa’s mastery as a filmmaker, by delicately narrating the private therapeutic means of its protagonist and the way solely by accurately closing the previous and holding it current as we speak is it attainable to stroll with a certain step in the direction of the future. A neat signature jewel with which Suwa makes a triumphant return to her native nation.
The greatest: The scene of the Kurdish refugees and the second when Haru arrives at the cabin.
Worst: Its sluggish tempo will demand endurance from the viewers.