Kore-eda has an incredible sensitivity and tender approach to storytelling. He captures so beautifully the innocence of the two girls and the untainted passion we have for things when we are young.
Written by Xiaoyi Wang
Adapted from the original 2021 one-shot manga of the same title by Tatsuki Fujimoto, Hirokazu Kore-eda’s live-action rendition of the story is an absolute gem of the Venice Film Festival. Many of those I talked to had listed it as one of their favourites from the festival, and I too have a particular love for this precious film, a film so filled with life and girlhood that sparkles with a passion for art.
I myself am an illustrator, having spent my life drawing, painting, creating stories… So it is no wonder that this film, about two young girls who share a passion for drawing manga, became one of my most anticipated features of the festival. Only in fourth grade, Fujino (Fuuri Nanase) is already the designated manga artist of the class; she is talented and adored by her classmates, and every week’s manga strip in the school’s newspaper features hers. Well aware of her talent, Fujino is confident and invested in her art, knowing full well her path in life: to become a manga artist. One day, Kyomoto (Rokka Okada), a girl from another class she has never met, features in the manga strip. Unlike the popular Fujino, Kyomoto has severe social anxiety and has barely ever come to school, but it is impossible to overlook her drawing skills, which are simply exceptional.
For the first time, Fujino’s manga is not the talk of the class. She practices more fiercely to perfect her skills, but it is still not as good as Kyomoto’s. Encouraged by her friends and her sister to go out and hang out more and do karate instead of being holed up in her room drawing all day, she stops drawing.
After some time, the day comes at the end of primary school when they finally meet at Kyomoto’s. Fujino discovers that this shy girl has picked up all her courage to tell her that she idolizes her work; there was never any rivalry or competition. Nothing but an absolute pursuit and adoration for drawing. The two girls become inseparable best friends, creating manga together in this coming-of-age story until they meet the unpredictable nature of life.
Shot on 35mm, this film is absolutely stunning; the framing of Senzo Ueno’s cinematography and the gentle, warm light come straight out of an illustration. Just visually, it is so incredibly full of life, so beautifully coloured, with a spark of halo, like seeing the world fresh as a kid. Alongside the score that accompanies the emotions so dearly, you really feel the warmth of the sun, the path of the wind, and the smell of its rain in this town in Japan. The film doesn’t shy away from the changing seasons, letting the audience feel the passing of time as we watch the cherry trees blossom and fall, and breathe the tingling cold of fallen snow buried beneath the girls’ warm giggles. Thanks to this intensely personal approach in its visual language, you are invited into the girls’ intimate friendship, pursuing art and laughing alongside them as they grow up.
One thing that I’m so glad about the film is that it lets the girls do what they love without going into the usual "rejection from family," "questioning their passion," or "cynical rivalry." This is a rare film that really gives space to the artists and their art, without the outside noise. We really get to see the girls’ relationship with art and how they build it up, how they find inspiration, how they work together, and how art moulds their lives. I love the time and the quietness dedicated to drawing; the confident sound of pencil on paper tells the progress of our girls without a single line of dialogue. Even if all we see is her back and the sound of her sketches, you hear their concentration, hesitance, and confidence.
There are so many scenes in this film that stole my heart. Especially when we find out exactly why Kyomoto is better than Fujino. Fujino’s stacks and stacks of sketchbooks have always been on top of her table, reminding us of her efforts in the corner of the screen, but at Kyomoto’s, they cover the corridor. To see someone for the first time who is better at the thing you are talented at, and realizing the time and effort they have put in, is a feeling of awe you don’t forget. No wonder why they’re so good at it, you think to yourself; talent helps, but it’s never the full story.
Another moment that lit the spark for the first time is Kyomoto and Fujino’s first meeting. In a kid’s world, there is no malicious comparison or jealousy that often fuels hatred. Fujino’s pride is met with nothing but Kyomoto’s fervent adoration. The latter, in her oversized bright yellow jacket, captured the purest admiration as she waved Fujino goodbye. The two girls take care of each other, especially Fujino, with Kyomoto’s social anxiety. They are brought together by a common passion, one that sits in the heart of their friendship, and one that makes each other better. A girlhood painted in the most delicate of colours.
The casting was amazing; all four actresses gave incredible, honest, and loving portrayals of the two characters. We always say a child actor looks like the adult actor, but in this case, I think it’s Natsuki Deguchi and Aju Makita who are the spitting images of the two child actresses. It probably helped that the two kids are real-life classmates; there is a genuine care for each other that is so incredibly natural. This wholesomeness is continued by Deguchi and Makita, who also delivered such authentic performances that made us love the characters.
Kore-eda really is the perfect director for this film. He won the Palme d’Or a few years back with Shoplifters (2018) and had just premiered Sheep in the Box in Cannes earlier this year; now, almost immediately, he presents Look Back in Venice. Kore-eda has an incredible sensitivity and tender approach to storytelling. He captures so beautifully the innocence of the two girls and the untainted passion we have for things when we are young. You can tell he is certain about the story he wants to tell; it is clear and focused. He crafts this incredibly emotional film so maturely, evening out and weaving the relationship between the two girls that will lead to the deeply emotional ending.
It is rare to find someone who shares your love for something as much as you do, and for our girls, Fujino and Kyomoto have each other’s backs. Ideas come from discussions and memories of the time they dedicate to the craft together. To find a deep friendship with someone who matches your talent and inspires you without reservation is so incredibly hard to come by, and when we do, we don’t let go. It is a relationship that will help carry the weight and privilege that comes with the need to create art, and this childlike spark you share, like a rare colour of opal, is here to stay as you grow.
Look Back premiered in competition at the 83rd Venice Film Festival on September 6th and will have its North American premiere at TIFF on September 14th.
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