Grief and guilt are the twin quiet rivers running beneath Koji Fukada’s ambiguously titled Venice competition entry Love Life, a delicately tangled story of generational conflict and the silences t…
, a delicately tangled story of generational conflict and the silences that, without being overtly aggressive, can drive people apart. Anyone familiar with the work of Japan’s greatest cinema maestro, Yasuhiro Ozu, will recognize the general territory. It is a space within which tectonic social shifts are disguised under layers of traditional social observance, often involving large meals, and where profound emotions may be — and often must be — contained within a glance.
Jiro is calm in the face of this hostility. They are married now, he says reasonably, so they will have to wear it; Keita may not be his child, but he loves and cares for him as a hands-on modern father. It is harder for Taeko, who suffers their visits, insults and bigoted conversational gambits with surreptitiously gritted teeth. There is no avoiding them; they own the apartment where the couple live, just across a public square from their own.
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