Su-Ki-Da Review

Though only two feature films into his directorial career Hiroshi Ishikawa is quickly establishing a reputation as Japan's premiere go-to man when it comes to beautifully photographed, quietly minimalist dramas. Though considerably less well known outside of Japan than are like minded peers such as Shunji Iwai, Ishikawa shows every bit as much skill when it comes to finding the emotional core of his characters while stripping away all of the excess and those who have discovered his work seem to become quick converts.

Ishikawa's latest work, Su-Ki-Da, is a film in two parts. We begin with a youthful love triangle. Seventeen year old Yu, a quiet but sweet natured girl, is in love with her classmate Yosuke, a star athlete who has given up his interest in baseball to pursue his dream of becoming a professional musician. Yosuke, for his part, is friendly with Yu but seems far more interested in Yu's older sister who remains nameless throughout the film. The sister is still grieving her boyfriend, killed in a recent accident, but seems to enjoy Yosuke's company and so Yu encourages their relationship even though you can clearly see that she is dying inside as she gives her sister what she wants so badly for herself. Tragedy strikes, the trio splits, and we jump forward in time seventeen years for the second part of the film.

While the first half of the film is presented as Yu's story the second half comes from Yosuke's perspective. Plagued by guilt from his part in the long ago tragedy but moreso a sense of shame at his reaction to it Yosuke lives a shell of a life. Yes, he now makes his living in the music industry but as a technician only, having given up his playing life long before, living alone in a barren apartment left unfurnished because as long as it is empty it promises the possibility of future change. When a chance encounter reintroduces Yosuke and Yu he sees the opportunity to make a fresh start ...

Ishikawa's particular gift lies in finding the most basic kernel of truth in his situations and characters and giving you just enough to express that core essence. There is no waste in his work, no clutter or pointless noise. Everything there is there for a reason. He has a light touch, shoots beautiful film, is positively lyrical in his editing, and draws excellent performances from his actors. If the opening section of the film stands stronger than the second is not because of any weakness in the back half, per se, but because Aoi Miyazaki gives such a stellar performance as the young Yu in the early going allowing Ishikawa to play the entire first half of the film, to carry the entire emoitonal weight of the film, in her devastatingly vulnerable features. Miyazaki has given a string of very strong performances in the past but in this she is absolutely incredible, though still quite young she must surely be considered one of Japan's finest.

The new Japanese DVD release presents the film in its proper ratio with a high quality transfer and optional English and French subtitles. Also included are a photo book, a location map and sheet music for the song - by composer Yoko Kanno - that occupies a central place in the story.