Song Story: Cinema Fighters Project

More obscure Japanese films can be a bit tricky to get a hold of, it usually doesn't help when it's an anthology we're talking about. And yet, these tend to be some of Japan's most interesting film projects. I was blissfully unaware of Song Story: Cinema Fighters Project [Uta Monogatari] until I went looking for more Hirabayashi films. When I noticed Yuya Ishii was also involved I really didn't have to think twice. And sure enough, this is exactly the type of film that makes me so appreciative of the anthology concept. The biggest problem is getting your hands on it.

The setup of Uta Monogatari (the second entry in a now 4-part series) centers around J-pop and J-rock songs. It's undoubtedly more fun when you're already familiar with the music (and the lyrics), but since this isn't my kind of jam I had to rely on the short films to make sense of it all. Each director took one song and used it as inspiration for their film. The result is six different shorts that are a bit more abstract and creative than your average narrative as a result of the more poetic use of language commonly found in song lyrics. This might be a deterrent for some, but I loved it.

The film opens with Yuya Ishii's Funky. Ishii is by far the most known director of the bunch and used this opportunity to hark back to his comedic past. A ragtag band of friends do their best to support their natural leader when he is both celebrating his birthday and the anniversary of his mom's passing. The performances are exaggerated and the first half is played mostly for laughs, the second half becomes more mysterious and the film offers up a nice emotional and mysterious finale. It's an excellent opener to the anthology. 4.0*/5.0*

Things get a bit darker in Momoko Ando's Aeiou. Best known for her sullen dramas, Ando gets a bit more stylized here and throws in more explicit genre elements while keeping the drama strong. The story is probably one of the more abstract ones, but the performances are strong, the presentation is stylish and the world-building is intriguing. The pacing is a tad slow considering the limited runtime, other than that this was a very worthy entry I wouldn't mind seeing expanded into a feature film. 4.0*/5.0*

Next up is Tsukasa Kishimoto's Genkou no Hate, a more straightforward drama with only minor genre influences. In and by itself this is a nice little short, but it fails to leverage its creative freedom to make a more lasting impression. The performances are solid and there's a bit of mystery there, but the cinematography and score are a little basic and mixed in with the rest of the bunch this is probably one of the least memorable shorts. It's not bad, mind, it's just that to stand out in an anthology like this one you need something extra. 3.5*/5.0*

Cue Isamu Hirabayashi's Kuu. My primary reason for seeking out this film was based on his incredible Shell and Joint. And Hirabayashi didn't disappoint. It's a film without dialogue, built on modern dance to depict its narrative. The setting is marvelous, the costumes are incredible and the editing is perfection. It reminded me a little of Asano's Tori, so if you like that type of thing, I'm pretty confident you're going to love this too. It's not the most accessible of the shorts here, but those who don't like (or hate) it won't need to struggle for too long. 4.5*/5.0*

Yuki Saito's Our Birthday is on the easier palatable side again, which is smart considering it follows Hirabayashi's more challenging entry. It's a soft-spoken romance with a little tragedy built in which makes it a tad more emotional. It's a sweet enough film and there are some poignant scenes working up to the finale, but it's a little too safe and comfortable compared to the other entries. It's pleasant enough filler and a good palette cleanser, but this won't be the short I remember the longest. 3.5*/5.0*

It's important to end an anthology on a high note and that's what Daishi Matsunaga's Canaria is there for. It's a dark but impressive film tackling the Fukushima drama, only from a more personal angle. It's always fun to see Shinya Tsukamoto acting, the presence of Kaho is also a rough indication of quality. The cinematography is proper, the drama is strong and the finale is a punch in the gut. It's the ideal entry to close off this series of shorts, basking in quality though not too divisive. 4.0*/5.0*

I'm not entirely sure why this film got buried so quickly, but the fact that there are already four entries in the Cinema Fighters Project, and this is only the first time I heard of it is a little disconcerting. I'll be doing my best to get my hands on the other three, though I'm not getting my hopes up. For now, I'm just happy to have found this one. Uta Monogatari is a wonderful collection of shorts, boasting consistent quality while still offering a variety of styles and approaches, and at least one exceptional entry. I heartily recommend it to everyone who appreciates a good anthology film.