Essay on Departures

My friend Marie Iida has written a very interesting essay on Departures (Okuribito, 『おくりびと』) on Néojaponisme here. Interesting because it addresses aspects of the film's social backdrop that haven't really been touched on yet. As always, some original artwork accompanies the post.

On the industry side, Departures is poised to score a live-action film hattrick that hasn't really been seen since the likes of Shall We Dance? in the 90s: box office success at home; critical prizes both at home and abroad; more than a token release in English-speaking territories.

Below is an excerpt from an essay on the film and Japan's current box office state I wrote that appeared in the Nov. 7 issue of Screen, before ContentFilm picked up international sales rights.

When local films do exceedingly well in Japan, celebrations follow. That was the case last week when Departures director Yojiro Takita, star Masahiro Motoki and the media gathered before a screening of the award-winning film at distributor Shochiku's flagship cinema in Yurakucho.

The modestly budgeted drama has stayed in the top 10 for eight weeks, grossing over $26m on 2.2 million admissions. The event highlighted the film's international success to date; the grand prix at the Montreal World Film Festival; the Golden Rooster for best picture in China; the audience award at the Hawaii International Film Festival; and Japan's official Oscar bid for best foreign film.

The display on stage indicated Japan's increased awareness of "global success" in a market that has remained fundamentally self-sufficient. Small films that enjoy critical acclaim abroad, such as Cannes and Locarno winners The Mourning Forest and Rebirth, often barely register at their home box office. Conversely, most local megahits continuously fail to sell to English-speaking territories. Departures looks set to succeed in both arenas.