We're Going To A Funeral
Following on from my previous review of the heart rendering, Mother, I couldn't resist the urge to give a review of a film that acts as its polar opposite, and one that finds a common connection in the form of actress, Nagasawa Masami.
A slice-of-life family drama, Our Little Sister, directed by Hirokazu Koreeda, focuses on three adult sisters who had lived through something of a rocky childhood thanks to a father who abandoned them to start a new family and a less-than-responsible mother falling short of her maternal responsibilities. Naturally, this would lead the eldest daughter, Sachi, to assume the position of mature caregiver over her two younger siblings. On the day of receiving news of their father's passing, she instructs the two to attend the funeral to pay their final respects. While the two sisters initially travel to their fathers' new hometown, Sachi eventually manages to join up with them, leading to a first encounter with their half-sister, Suzu.
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The three are surprised and impressed by the level of maturity and politeness that Suzu demonstrates, and their feelings of resentment for their father turn to sympathy and empathy for the effect that his life and death had and continue to have on the life of this young high school girl. Developing a fondness for her instantly, Sachi invites Suzu to live with them, an offer she eventually accepts, a decision which results in the four living a happy life, navigating through their collective and individual challenges like an ocean that has its storms and its moments of calm. Each sister provides a unique dimension of care for young Suzu, Sachi giving the more stern and serious guidance, while Yoshino(Nagasawa Masami) focuses on developing Suzu's social and feminine qualities. Finally, Chika, no longer the baby sister, provides support for Suzu's clear athletic interests and talents, encouraging her to join the local football club.
Together
Along with the collective ongoings of the family, the film also manages to give fair focus on each life, from pressures at work and family to the complex relationship that the girls have with their mother, particularly Sachi's resentment for her inability to fulfill her parental obligations. Yet despite this, the themes that run through the entire film are those of new beginnings, forgiveness, and hope. And while I dislike platitudes as much as the next person, it's hard not to appreciate the truth that lies in the fact that death and life are born twins, accompanying each other hand in hand in all nature's endeavors. Despite their negative feelings towards their father, he was responsible for gifting them with a new sister, who became a focal point for the three to grow closer to one another. In its subtle patience, the film teaches that good things take time, like the coming of spring, the aging of plum wine, the journey through high school, and the mending of relationships long damaged.
The film strikes a chord that will resonate with anyone who has siblings, and resonate even more with those who understand the unique and special bond that sisters share. So sweet that it might give you a toothache, the film gives a touching cinematic experience with wonderful acting and execution that simultaneously acts as yet another window to Japanese culture and daily life and inspires with its humble simplicity and heartfelt message. This way for the warm and fuzzy feelings, and as always, I wish you happy viewing :).
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