‘Journey to the Shore’ won director Kiyoshi Kurosawa the Un Certain Regard prize at last year’s Cannes Film Festival. It is also the Masters of Cinema label’s latest foray into the new release market; the label is more frequently associated with the restoration of forgotten classic cinematic releases but has enjoyed success with the likes of ‘Listen Up Philip‘ and ‘Life of Riley‘ in recent years.
The film tells the story of Mizuki, a young female piano teacher mourning the death of her husband Yusuke, who we learn has drowned at see three years prior to the start of the film. However, when his ghost appears mysteriously at home one day, she is less surprised at his presence and more annoyed as he has forgotten to take his shoes off.
The reunited couple set off on a journey together as he takes her to visit the people who have helped him journey home from his point of death, with Mizuki’s resulting spiritually cathartic journey being the focal point of the story.
It’s a story that is rooted in Japanese culture, with the human grieving process following the death of a loved one a typical starting point for its fair share of Japanese films in recent years. Where this sets itself apart is in the very blatant separation from reality afforded by the seamless interaction between the living and the dead. There doesn’t seem to be any hard and fast rule about who can talk to whom, nor does there seem to be any surprise or shock experienced by the living seeing a close departed friend or family member. Indeed, Yusuke is portrayed as a living, breathing being with he ability to fully interact with his surroundings. It’s a unique spin on the matter (pun intended).
There are some really effective cinematographic techniques employed to reflect the mood of the scenes, most notably in the dimming of the lights when a darker story is being retold. The credit here lies with director Kurosawa and his cinematographer Akiko Ashizawa. It was subtle enough to have an impact before I realised what had happened, as key characters revealed their darkest of memories, and it added considerably to the picture.
Whether it really works as a whole is something I’m still not totally sure about. Certainly it is delivered with conviction, though the overall effect is something entirely morose. There seemed to be a relentlessness to the depression involved that, whilst perhaps reflective of the mood of the characters involved, seemed to offer nothing in the way of a positive escape for anyone watching looking to be guided by the grieving process.
The film achieves its aims and carries everything off to perfection. It’s just not a very pleasant experience to sit through.