![]() ![]() This seems to be particularly irksome for one of the group, a slightly older man (Masatoshi Nagase) who used to be a photographer but has now mostly lost his sight. ![]() Misako’s job is to relate the film-within-the-film’s themes to her focus group of blind audience members, but she’s having trouble finding the right balance of description and subjective editorialising. ![]() ![]() She’s working on an apparently very subtle film by an older filmmaker about a man grappling with mortality (while also herself dealing with an ageing mother who seems to be slipping slowly away). She is a filmmaker who makes often rather gentle films, often about women, that have a sensory quality and a fundamental compassion, whether that of the old lady in Sweet Bean or the grieving family in Still the Water.ĭirector Naomi Kawase has always had a very particular way with her films, about translating texture, touch, taste and other sensory experiences through sound and image, so it makes sense that this film deals with Misako (Ayame Misaki), a woman who writes closed captions for visually-impaired filmgoers. Recalling my recent week devoted to films available on Amazon, I’m delighted to say that the recent Naomi Kawase film I’m covering today is now on that platform. ![]()
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