Naomi Kawase’s fourth full-length feature film came ten years after her debut ‘Suzaku’ won the Camera d’Or, the prize awarded to the best debut feature at the Cannes Film Festival. ‘The Mourning Forest’ was also the recipient of a prize at Cannes, winning the 2007 Grand Prix.
The contemplative film was inspired by director and writer Kawase’s childhood growing up with her grandmother, who suffered from senility. It follows the nurse Machiko (Machiko Ono), who starts a job at a home for elderly people suffering from dementia. The home is deep in a forest and allows a certain amount of freedom and tranquility away from distractions. The youthful Machiko forms a strong bond with and elderly man named Shigeki (Shigeki Uda), who has a tendency to run away as soon as he’s given the opportunity. Shigeki is a widower whose wife has been dead for 33 years, a significant milestone in the Buddha mourning period as the end of the liminal period, traditionally celebrated with a ceremony. The job is perfect for Machiko, also in mourning for the death of her child.
On Shigeki’s birthday, Machiko takes him on a car ride into the countryside. But when their car breaks down Machiko goes in search of help, only to find when she returns to the car Shigeki has disappeared into the nearby forest. She ventures in to find him and eventually the pair go on a cathartic journey of mourning and bonding as they journey deeper into the depths of the forest.
“I wanted to show as well that you could have a relationship across generations, that was very important. I didn’t want there to be any taboos between generations,” said Kawase in her statement at the Cannes Film Festival in 2007. “It was important to me to show that despite their differences that you can have this relationship and you can have some sort of support in life.”
That is exactly what this film shows. It is an exploration of the relationship between two people at very different stages of their lives, sharing the same experience but at different stages of mourning, providing support for one another. Of course, Machiko is much more aware of what she is providing than Shigeki, but the results are very much the same.
Shigeki Uda was 60-years-old when the film was made, but he played a man of 70 years. To prepare for the role as someone who has dementia, he went to extreme measures to ensure he had an accurate portrayal. “I spent three months in a home for the elderly, a home that was used as a model for the film,” he said at the Cannes Film Festival press conference. “I spent three months with people who were senile. I ate with them, I bathed with them, I lived with them, and I felt with them.” The achievement is astounding, giving a real sense of the condition. There are moments where he has a blank look on his face, when asked a direct question, that will feel familiar to anyone who knows someone with dementia. He can still feel that he must provide an answer but he is unsure exactly what is being asked of him, so he pretends he understands and offers a response anyway. That can’t just be guessed at and Uda is showing a real understanding of his character when he does this.
The film is a contemplative, spacious film. The scant use of dialogue allows the viewer to take in the beautiful scenery captured by cinematographer Hideyo Nakano. This is heightened by a subtle score from Masamichi Shigeno, which never feels overbearing, mixing well with the organic sounds of the forest. The mix creatures something that feels extremely naturalistic.
Kawase created a sincerely wonderful film with ‘The Mourning Forest‘, which shines a light on dementia. It underlines the importance for those interacting with anyone with the condition to know that they are still human, with emotions, feelings and a personality. It exhibits the sort of understanding that can only be achieved by someone who has lived with someone with the condition. With two first-class performances from the lead actors, the results are magnificent.