Kyrie

It's been a while since Shunji Iwai made anything exceptional, maybe that's why he decided to return to his roots. Kyrie [Kyrie no Uta] is a quintessential Iwai film, one tailored to his skills and intrinsic qualities. It's a film that's going to feel comfortable and familiar to those who are already on board with Iwai's style. I'm not sure if it's going to convert others to his oeuvre, but that's just a risk you'll have to take when seeking out Iwai's latest. I will say, it turned out very good for a film with a couple of personal red flags and some obvious pitfalls.

The thing with Kyrie is that it comes in three flavors. There is the fully expanded series, but there's also a three-hour festival version. And for people who like more bite-sized movies (like me), there's the two-hour theatrical cut. There's no definitive choice to make here, it's really going to come down to what you prioritize. Things will naturally feel a bit more disjointed in the shorter versions, but I actually appreciate the cut-up narrative. I read some people had trouble following the plot because of that, but I couldn't find much reason for any confusion. Your mileage may vary, but you can always pick one of the extended versions.

The biggest hurdle for me was the music. Iwai is known for his attraction to pop music, but he never made an outright drama about a singer-songwriter before. It's not my preferred cinematic niche and I'm generally not too impressed with its Japanese representatives. I didn't care much for the music here either, it's just not my thing (at all), which is another reason for preferring the shorter version, as it treats the music a bit more as part of the narrative, rather than a musical showcase for the lead actress. Iwai handles it gracefully though.

Ruka is a young girl who wanders the streets of Osaka. She tries to make a living performing her songs in public. One day, an old friend bumps into her. Ikko likes Ruka's music and she decides to become her manager. The two get along fine and Ruka's popularity grows steadily, but both girls have a dark past that is about to catch up with them. Ruka lost her family in the tsunami, and Ikko earns money scamming older men. When Ikko suddenly disappears, Ruka has to fend for herself again. Luckily, she has found some new friends who are willing to help her out.

The visuals are vintage Iwai, which is a big plus. He loves to keep his camera close to the characters, almost as if he's dancing with them. It's a pleasant style for a character portrait, especially when handled by someone who knows the tricks of the trade. It's not just all dynamic handheld camera work though, Iwai also makes excellent use of the setting and tucked a few landmark shots in there that help set the mood and elevate the film. It's not his best-looking film, but it's certainly up there with the best, so you know you're in for a treat.

As for the music ... it's a lot trickier. Aina's raspy voice is a great fit for the lo-fi singer-songwriter music she produces, but the bland musical support is dreadful, making it impossible for me to care about her songs. That said, the score is on a completely different level and Iwai uses it wisely to strengthen the atmosphere and give extra weight to the drama. He still hasn't lost his knack to take a rather classic drama score and use it in such a way that it becomes a clear asset to the film. It's all about timing and choices with Iwai, and he hasn't lost his feel for it.

The casting was excellent, which is another thing that's pretty much a given when watching an Iwai film. He always finds strong fits for his characters, plus he manages to draw the best from his actors. Aina is impressive, as is Suzu Hirose. There is plenty of chemistry between the two, even though Hirose has less time to prove herself. The secondary cast is on point too, though they have fewer chances to shine. It was nice seeing Kuroki in another notable role though, while not a true powerhouse she rarely disappoints and knows how to pick her roles.

Kyrie is a film with few surprises. If you've seen a couple of similar films it's pretty obvious where this one is going and where the drama will be coming from. The narrative jumpiness that Iwai introduced to fit everything in its 2-hour runtime actually helped to keep things engaging. Yes, you have to pay attention the whole way through, but it allowed for some dramatic highs I didn't immediately expect. If you're more interested in traditional narratives though, there are the longer versions, which will no doubt be better suited to your needs.

It's been a while since Iwai released a truly great film. Kyrie is a return to form, though the emphasis on return is double. Iwai didn't reinvent himself here, he just went back to what he excelled in and repeated some of his former tricks. The result is impressive, but nothing that will sweep you off your feet. Still, when the cinematography is splendid, the score is tailored to perfection and the performances are exceptional, you know you're getting a lovely film from Iwai. It's cool to see him back on top, but it would be better if he'd go out of his way to make something unique again.