Who Were We

This was one of the 2024 films I was looking forward to the most, though that doesn't mean an awful lot as it was also one of the only ones. Based only on a short segment of the trailer and the two principal actors, Who Were We [Watakushidomo Wa] looked like an absolute stunner. Luckily, director Tomina didn't disappoint. This is surely one for the more arthouse-leaning audiences, and distribution is looking like it's going to be a bit of a problem, but if you can see the film somewhere on a big screen I would wholeheartedly recommend doing so.

I think it's fair to say Japan loves a good story about people stuck in limbo. Koreeda's After Life is one of the more prominent ones with international fame, but there are countless examples — also manga/anime for that matter, go and watch Haibane Renmei if you haven't. The interesting part is that a lot of them are dramas. Often with slight fantastical touches, but never in such quantities that you'd mistake them for full-blown genre works. Who Were We fits the bill, though it comes with a more obtuse narrative and more mood-based scenes than most of its peers. That's not a bad thing.

It is an apt reminder that Japan is doing far fewer arthouse-appropriate movies these days. Apart from Hamaguchi I suppose, though even he often skirts the boundaries of arthouse and "mere" international drama. I guess it has to do with the diminished global focus on Japanese cinema (and Eastern-Asian cinema in general), which offers fewer chances to directors wanting to make films in this space. The other problem is that when they are being produced, they are in graver danger of slipping through the cracks. Something I dearly hope won't happen to Tomina's latest.

One day a young girl wakes up in a small, abandoned miner's village. She has no recollection of who she is or where she came from. She is found by Kii, a woman who keeps the town clean. Kii takes her in and gives the girl a name: Midori. To keep herself busy, Midori helps Kii with her tasks. In her spare time, she wanders around and connects with the few others that roam the premises. One of those people is Aoi, a mysterious man who guards the place. Aoi and Midori instantly connect and start hanging out together as they feel they might've known each other before.

To deal with the negative first, I have no clue why Tomina decided to shoot this film in 4:3. I know it's a bit of a fad to mess with more squarish aspect ratios again, and I've read countless explanations of why they are supposed to convey, but I can't recall a single film where it hasn't bothered me. Here, it's only made worse by the fact that the cinematography is gobsmackingly beautiful. The framing is exquisite, and the use of color and lighting is majestic. The film is littered with landmark shots, and all of them lose some power because of their awkward aspect ratio.

The soundtrack is pleasant, a bit more by the numbers, but executed skillfully and fully in line with the stylish approach of the visuals. There's a mix of light piano/string music (for the lighter dramatic parts), ambient sounds (which give a good feel of the peaceful setting), and low hums (whenever there's a darker stretch). None of this is very original or out of the ordinary, then again, Who Were We doesn't set out to revolutionize the arthouse scene. It seems more involved in nailing the execution as close to perfection as possible, and the score isn't far off.

The cast is an absolute dream. It's been a while since I watched Ryuhei Matsuda act and his role here confirms his status as one of the most gifted actors of his generation. Nana Komatsu is well on her way to mirroring his reputation on the female side, though her choice in films remains a bit more frantic. Appearing in a film like Who Were We certainly helps to cement that reputation. Shinobu Otake and Shizuka Ishibashi manage to shine in smaller secondary parts, but the core focus lies with the two leads, who carry the film with ease. Not that anyone should be surprised.

The start of the film adds a layer of mystery, but it should be obvious enough from the start what kind of premise we're dealing with. In that sense, Tomina spends maybe a tad too much time on minor reveals throughout, but it's not like there's a lot of narrative to go through, so it doesn't really get in the way of things. The finale also feels inevitable and shouldn't come as a surprise to anyone, then again, Who Were We is much more interested in the journey than the destination, and that's where this film excels. Just keep your expectations in check.

It's been a while since I've last enjoyed a good mood film, so Tomina's Who Were We felt like it came at the right time. Despite my reservations about the wonky aspect ratio, this turned out to be an accomplished film that stands out in just about every area that matters, from styling to performances to pacing, everything is polished to perfection. It's a film that should do well among more serious film fans and people who like subdued dramas. Distribution is going to be the only big hurdle here, so fingers crossed that this one will eventually get the release it deserves.