The 2017 Toronto International Film Festival hosted the world premiere for Kazuya Shiraishi’s “Birds Without Names”, which is based off the novel of the same name by Mahokaru Numata.
The film centered on Towako Kitahara (Yu Aoi), an unemployed woman who spends her days pining over an old boyfriend, Shunichi Kurosaki (Yutaka Takenouchi). While doing so, Towako lives with and is cared for by Jinji Sano (Sadawo Abe), a blue-collar worker who is 15 years old than her and absolutely devoted to her. Despite Jinji’s devotion to her, Towako is unsatisfied and searches for excitement elsewhere. She finds her interests drawn to Makoto Mizushima (Tori Matsuzaka), the married manager of a watch store that she currently has service issues with. Regardless of his unavailability, Towako starts an affair with Mizushima which unexpectedly brings back her haunting past, more so when the police (Masaaki Akahori) knock on her door with questions about Kurosaki.
Towako is the type of woman that tells a person what she’s thinking. She doesn’t hesitate to call people names or to call them out on their actions. It’s a trait her sister, Misuzu (Muck Akazawa), and Jinji are familiar with. If she doesn’t spend her days watching old videos that document her time with Kurosaki, then Towako is out on the town spending money that Jinji leaves for her every morning. For someone so assertive in her ways, it’s a huge contrast to her attitude towards Kurosaki and Mizushima where she’ll be very accommodating to their needs, even if they are unhealthy for her to do so. It’s very interesting to see Yu Aoi bring Towako to life. Her portrayals of all the different facets that embody Towako encapsulate the complex layers that her character has within her. Yu Aoi’s performance during the film’s final twist evokes such emotion that it leaves the audience reflecting on the journey Towako found herself on.
Jinji is the type of man that aims to please, especially when it comes to Towako. Despite her depreciating attitude towards him, Jinji puts her needs before his own as he continues to strive for Towako’s happiness. It’s something he’s been striving to achieve since they first met. However, when he fears the worse for Towako, Jinji finds himself doing everything he could to protect her, even if it means Towako doubting who he is. Sadawo Abe did an amazing job in creating an emotional connection with the audience. His portrayal of Jinji had the audience sympathize for him after his horrid treatment at home and yet he gets the audience to question him about his true motives behind his actions. There are times when it’s difficult to see Jinji continue on with the way that Towako treats him and yet there are times that have the audience questioning just who the real Jinji is. Could he be hiding something sinister within or is there something more going on? Sadawo Abe’s ability to continue this constant dichotomy about Jinji only solidifies his stellar performance.
This film did a tremendous job in highlighting the different aspects of human relationships. In Towako’s case, she experienced many facets of these relationships. With Kurosaki, the film explores not only the past relationship between them but it showcased the aftermath that Towako is stuck in eight years later. She’s left pining for a man that ultimately took advantage of her affections for him, a man she’s better off without. Then there is Mizushima, a man who Towako begins to experience the new throes of a blooming relationship, the curiosity and excitement attached with finding a new lover, the new feelings and desires to see one another and learn what you can in whatever capability you can. These affairs brought out the deception, obsession, manipulation and risky aspects when keeping a relationship a secret. Then there is Jinji, a man who loves her and would do anything for Towako’s happiness and yet she doesn’t return those feelings. For Towako, Jinji is the safe option. He provides for her financially and sexually while he gets verbally abused by her. With Jinji, Towako takes for granted the love he has to offer to her. It’s a glaring contrast to what she experiences with the other men in her life. The film juggled these relationships in a way that showed how much they are the same yet different from each other. The fallout from these relationships was unexpected yet showcased how relationships could leave a mark on those involved.
Original Title: Kanojo ga sono na wo shiranai toritachi
Director: Kazuya Shiraishi
Writer/Screenplay: Mahokaru Numata (novel), Taeko Asano
Country of Origin: Japan
Language: Japanese
Length: 123 minutes
Original Release: October 28, 2017
Publication Note:
This was published for AsianWave Magazine.
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