The Japanese drama film Wet Woman in the Wind was released in 2016 and directed and written by Akihiko Shiota. This film was made in conjunction with the studio Nikkatsu’s special revival project that aimed at modernizing and artistically reimagining a particular tradition. Shiota’s film incorporates elements of humor and irony in the way that it expresses themes of seclusion, interpersonal relationships, imaginative identification, and self-awakening.
Synopsis
The primary focus of the film focuses on Kosuke, a playwright who is celebrated and has been bored due to the complex nature of people and the city. He wishes to escape to a quiet and isolate woods and spends his time in a small cottage with the hope that he can live a simple yet peaceful life. The peaceful nature of the countryside is also gentle on Kosuke as he is easily able to write, read, and tend to his pretty little garden. It is very evident that during his time in the cottage, he tries to avoid any form of attachment of the romantic or emotional nature.
Kosuke’s isolation is brought to an end as soon as he meets a young woman that was lively and a free spirit by the name of Shiori. She entered into his world and from the first moment, both first interactions, the day’s tranquility was broken. Shiori is a woman of many talents, with no fear to show the world her curious and brave self. She appears to be Kosuke and his emotionally detached self’s, and his mission is to attach himself to her.
Kosuke wants to see her, indeed. he wants to make her his, but, oh, and he is a sad lonely man, and he first has to conquer his, what is intuitive, walls of defense. Time and again, most outlandish and visceral, stories written on walls of the fun side of perceiving the world, tell tales of animated and alive ekphrasis.
The next stage of the film explores questions of a greater depth. Why is the Kosuke so stormy and troubled inside, and what were the turn of events that brought on the Shiori whirlwind. Kosuke in the eye of the Shiori hurricane is able to free float himself in space.
Cast & Crew
Director: Akihiko Shiota
Writer: Akihiko Shiota
Cinematographer: Hidetoshi Shinomiya
Music: Shunsuke Kida
Editor: Takashi Sato
Main
Tasuku Nagaoka as the melancholic playwright, Kosuke
Yuki Mamiya as Shiori, the lively and enthusiastic woman
Supporting cast:
Ryushin Tei, Michiko Suzuki, Hitomi Nakatani
The film is 77 minutes long and is told in Japanese using simple and vivid storytelling.
Conclusion, themes and and symbols
Wet Woman in the Wind might be playful in tone but there is so much more to extract than what the film is showing infront of you. The emotional canvas and the transformation of ones self is beautifully explored in what seems to be a lightly layered quiet film. Some of the more poignant themes of the film are:
The theme of ‘silence’ and ‘solitude’
Kosuke’s attempts in escaping to an isolated area is a physical representation of a person wanting to ‘escape the noise,’ somebody who equates ‘solitude’ to ‘peace.’ Kosuke in the beginning is able to retain a bubble that is self sustaining. Yet, as the narrative of the film progresses, that is shattered. The bubble is shown to be an illusion. Shiori’s arrival is a representation of the unpredictable factors of life. Shiori’s arrival is a representation of the unpredictable factors of life and the barriers that are formed, especially self created. Shiori suggests that there is constant engagement, irrespective of borders, and self created distances.
- Implementing control versus fostering creativity
Kosuke, a writer, attempts to control the fictional worlds he weaves with words. He attempts to control his life in a similar manner. He wrestles with the balance c Shiori’s unpredictability brings. The film asks the delicate question ‘is creativity possible in a life devoid of human contact?’
- Intimate personal expression
To Kosuke, Shiori is a attempt at social freedom, a social freedom that he has confined himself to. Through Shiori, the film poses the question of why an individual would prefer a rigid life, when they could embrace an open way of living.
- Emotional Shifts
Although the film Kosuke is emotionally stagnant at the beginning, his development during the film prompts a change in that regard. The film proposes the idea that in order to grow, we must go through emotional experiences, although they may be inconvenient.
Visual Style and Cinematography
The main concepts of the film aid in its development. He film’s set is in a beautiful cottage surrounded by woods and warm, natural light. This highlights the contrast of movement and stillness. The cinematography focuses on little things that would normally be missed. This, alongside Shiori’s abrupt entrance into the world Kosuke created, highlights the chaos.
Like his other films, in “Wet Woman in the Wind Akihiko Shiota shoots with the perception of a painter while cultivating a dialogue with the protagonists.” Kosuke’s solitude is defined with great emotional depth in the distant, almost stilled, exposures.
As soon as Shiori enters the frame and reaches out to him, the compositions shift in a visually and sensorially more intense direction.
The Ambient score works beautifully in the film. It breathes the necessary emotions to the film without overpowering it; with almost an ambient feel to it. Almost climatic noises are structural to the film giving it more of an elevated completive feel.
Reception and Recognition
As of upon release Wet Woman in the Wind was received with a wide spread of responses the minute the film was released due to the fact that it is a retelling of a classic film with a more modern and contemporary take. Critics stated that they film is balanced well with unique writing, strong actors, and a light feel of comedy while having serious undertones.
Tasuku Nagaoka as Kosuke, is powerfully and with great depth in his characterization. His subtle performance tells the story of a man who is captive in a room, with blank walls that is always at the war with the contradiction of being in a state of retreating while fully sulking in all of the memories held captive in his mind. As Shiori, Yuki Mamiya gives a spirited performance with great depth and charm and is fully recognized and appreciated throughout the entirety of the film. Shining the most out of the other cast members in the film is an enhancement gain received at Japanese award ceremonies.
Numerous reviewers positively commented on the film’s playful tone and self-reflexivity. Rather than taking itself too seriously, the film engages the audience through absurdist or exaggerated interludes. These interludes, though, are tempered with genuine emotional beats, allowing the film to resonate on both entertainment and intellectual levels.
Most critiques focused on the film’s minimalism and scope, with some viewers wishing for more backstory and character development. Conversely, others appreciated the minimalist approach, allowing the characters and emotional arcs to shine through more profoundly.
Conclusion
Wet Woman in the Wind is an understated yet articulate film that examines the encounter between a world negator and a world idealist. The emotional apartness paired with the deceptively simple narrative invites the viewer to ponder more profound issues pertaining to connection, creativity, emotional honesty, and the paradoxes of freedom.
Rather than confining the viewer to a traditional narrative arc, the film offers a canvas for self-reflection on the discord of isolation and the complexities of interpersonal relationships. Its unique combination of modern Japanese cinema’s gentle humor, philosophy, and soft-spoken narrative make it yet another intriguing addition to the genre.
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