Obon Brothers (2015) Character drama that peeks at the Japanese film industry (Festival Review)

Media that peers behind the curtain have provided the world of cinema with countless icons and classics. There is something about being allowed to observe the highs and lows of a world so close yet so alien which has made it such a rich well for filmmakers globally. Of course, not every filmmaker in the world is a Scorsese or Spielberg, and it is in those lower rungs that we find Obon Brothers. Perennial A.D., Akira Osaki’s first film in 8 years, Obon Brothers, featured as part of Raindance’s “Way out East” programme.

Kiyohiko Shibukawa stars as a director hit by calamity – defeated, he moves back to rural Gunma (Osaki’s hometown), where he is living with his brother to help him recover from a cancer scare. Furthermore, his wife wants a divorce, and he has failed to make a film in 5 years – nothing is going well for him. Events see our protagonist attempt to get some order back in his life and make his long-gestating second film: if only things were that simple. Thematically and style-wise, Obon Brothers is similar to Korean art-house favourite The Day He Arrives by Hong-Sang Soo – both are in black and white, both have listless directors in the lead role, and both take on a sombre tone. The only differences are some rare comically overacted reaction shots.

Shibukawa has failed to make a film for years – a reality for many a filmmaker. And, any attempt to court the attention of his producer is met with indifference as he forever changes the subject to his new en vogue filmmaker. While far from seething satire, the message is still clear: Osaki displays obvious disdain for Japanese culture’s obsession with the next hot young thing. Other directors have also voiced similar concerns; there is an old Takashi Miike interview where he says his constant reinvention is for this reason. This reading is one of the recurring themes of the b-plot. However, it is given extra weight by Shibukawa’s subtle performance of barely concealed disappointment. A scene where he meets another director in a cinema with his daughter in tow is piercingly effective.

The film may sound exceptionally dramatic, with the tail end of a cancer scare and a divorce looming, but that is far from true – Obon Brothers is a character study on Shibukawa, a proxy for Osaki. He deals with colourful characters and scenarios and a gallery of eccentrics that present themselves, chipping away at his stubbornness and becoming a better person as part of this process. That character work is exceptional, with the colour of the characters and the strong performances throughout turning what could have been a non-committal 90-minute film into something with more vigour and presence. Highlights include his romantically chaotic best friend Kôki Okada and Shibukawa’s ex-wife (Makiko Watanabe).

A straight-laced drama, it is, then. What is odd, however, is the comedy. While passing the ‘six laugh test’ with ease, the reactions to the more broad and eccentric moments leave much to be desired. These instances feel out of key with the otherwise low-key tone. Shibukawa mugs to the camera, a common trope in Japanese comedy, for sure, but to place that comedy value in a film that repeats that gag of juxtaposing goofy reaction shots as a response to the main character’s failed marital faithfulness works one or two times, maybe. Yet, the film consistently makes the main character look like a fool by using the same base gag ad nauseam, which asks questions that the script isn’t prepared to answer.

‘Obon Brothers’ is unlike many Japanese films in that it requires no understanding of the country’s standards, values or history; it is simply a sparse study of a man who believes strongly in the family system to his detriment. The conclusion doesn’t head in any destructive directions; instead, it opts for hope, inspiration and a blanket of charm. While unlikely to win any awards, when it, hopefully, appears through mainstream avenues – it will be met by waves of happy, contented smiles. As one historically notable Sullivan said decades ago, that is the most significant thing a film can achieve.

Thanks for reading our review of Obon Brothers

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