In her debut Plan 75Chie Hayakawa was held in Cannes in 2022, a quiet vision of the future, in which Japanese residents over 75 years old can choose to be euthanized. Initially, the plan seemed benign, but Haichuan's film steadily reveals how the policy flourished on the cruel capitalist tenets that people deal with. Plan 75 That year he won the "Specially mentioned" Camera D'Or (Best First Movie) Award and announced Hayakawa as director. Now, three years later, the Japanese filmmaker sees her as a past.

Premiere in Cannes Renoir She is a poetic meditation of the vital summer of Newcomer Yui Suzuki’s life as she struggles with her father’s environmental stress and ongoing loneliness. The film was in the suburbs of Tokyo in 1987, moving at a leisurely stroll speed, using direct but by no means harsh, cuts (edited by Anne Klotz) take us from one situation to the next.

We linger with Fukushima and retreated into her imagination. I acquired hobbies, made friends, and got lost with people. Throughout the process, Hayakawa maintained steady control of this subtle story. There's a moment Renoir After the sensual turn, I felt that its subtle frame was too obvious. Still, the film may find life outside of the festival tour, especially among the Arthouse crowd.

Like many lyrical adult movies (e.g. All earthy smells of saltFor example), Renoir Reward patience with scattered narratives and surreal touches. To be fair, not everyone can step on its wavelength. The movie was calibrated to the volume of the whisper, as if Haekawa was having a conspiracy conversation with his memories. RenoirFor directors, the theme is personal, who, like the central characters, struggle to cope with the reality of terminally ill parents.

Work with her Plan 75 DP Hideho Urata, Hayakawa possesses a fantastic aesthetic that enhances the perspective of a child who has been looking for. At one point in the movie, Fukushima stares at her mother, Hikari ishida's man (Ayumu Nakajima), who brings him, and he jokingly asks if she finds her face funny. The answer is of course yes. Because Fukushima is a curious child, the 11-year-old feels strange because of the intensity of her gaze and the directness of her attitude.

We meet Forge in a painful opening sequence. She was watching a montage of the crying baby on VHS, and she quickly discarded the montage in the garbage room of the apartment building. In that dark, moldy area, she met a strange man with a rude voice. He asked her about the invasive question and Fukushima was frightened. Later that night, the man strangled her to death in bed and Fukushima through voiceover, believing her own death. It turns out that this is a short story she wrote for school assignments, a literary work about sadness and grief. In the following scenes, Fukushima's teacher met with his mother and asked if the young girl was okay.

In many ways, Fukushima is not. She is surrounded by adult anxiety. Her father, Keiji (Lily Franky, a regular visitor in the movie Tashi Hirokazu Kore-eda) has cancer and her mother succumbed under the pressure of caring for him. When Utako was hospitalized in the early stages of the movie, she asked the hospital to assume long-term care responsibilities. She expects him to die soon and accepts that reality brings her own challenges.

Fukushima tries to avoid loneliness and boredom through hobbies and friendships as her parents negotiate the emotional and economic weight of the looming death. She approaches Kuriko (Yuumi Kawai), a girl with perfectly braided hair in her school and starts a dubious relationship with Kaoru (Ryota Bando), an older boy who meets her by providing a hotline for people seeking contact. Yet, in all this entertainment, Fukushima's obsession with magic and telepathy remains unchanged.

In the early stages of the movie, the young girl watched an English program hosted by a musician. He mainly speculates which cards people choose from the deck, but occasionally he wears a pair of glasses to float his mind. His main guidance for those who try to use their psychological power is to focus. Fukushima takes the order seriously and spends most of the movies to gather people around her to attend. Kuriko is her most willing participant, and the two arranged the ceremony together and tried to read each other's thoughts. It was a heartbreaking twist when Currico finally moved away, leaving Fukushima alone again.

Part of the reason Renoirdespite its modestness, the emotional blow is due to Suzuki's fascinating performance. The newcomer's eyes widened, dazzling eyes immediately conveyed the reality of Fukushima's innocence and curiosity. In the hands of an actress, the character becomes the person you deeply protect. Anxious tension falls into the real life when Fukushima decides to meet the young man she talks to on the phone in real life, Renoir As you start spinning over all the ways in which the interaction may go wrong.

But thankfully, Hikawa cares about Fukushima too, so the character never had much trouble despite her quirks and weird preferences. Most importantly, the director is interested in bringing the complexity of Fukushima's emotional life to the surface, a task that the film accomplishes to a large extent.