Set against a backdrop of a culture heralded for its hard work and humility, as described by a character in Chie Hayakawa’s Renoir, we find young Fuki Okita (Yui Suzuki) navigating life through her vivid imagination and raw instincts. Her father (Lily Franky, recognized from Hirokazu Kore-eda’s films) is hospitalized, battling terminal cancer. Fuki perceives that her mother might prefer if her father’s passing were hastened, or at least wishes his condition remains dire enough to prevent his return home. This assumption about her mother, Utako (Hikari Ishida), who is not fond of domestic life, is likely correct.
The narrative unfolds in 1987, a time before the internet could engulf young minds like Fuki’s. Instead, she escapes into the world of cable TV, where makeshift gurus peddle advice on telepathy and hypnosis. Fuki experiments with these skills, trying to transmit playing card suits to anyone willing to engage, and attempting to locate the lost TV remote through psychic means. Believing in her supernatural abilities comes naturally to her, as she is still partly rooted in her childhood fantasies. Hayakawa, sharing a personal connection, reveals this part of the story is autobiographical, mirroring her own experience with her father’s death from cancer at a similar age.
Utako, embroiled in her own adult daydreams, has recently stepped into a managerial role at work and is also dealing with a whimsical daughter. She finds herself overwhelmed with these responsibilities, showing little interest in caring for her ailing husband. Utako’s frustration becomes apparent as she lashes out at Fuki and her subordinates, and she breaks down upon discovering that Keiji has spent a substantial sum on a sham cure, convinced it’s more effective than medical advice. At school, Fuki’s assignment titled “I Want to Be an Orphan” prompts a teacher to question Utako about potential domestic issues, but predictably, Utako isn’t inclined to share her troubles with outsiders.
The personal challenges Fuki faces are evident, yet they blend into a broader cultural malaise marked by pervasive loneliness—a sentiment she shares with others. This is underscored by her frequent calls to a telephone dating service, where she listens to voices expressing a desire for companionship or merely someone to share a laugh with after work. These calls reveal a community of individuals openly expressing their need for connection, resonating deeply with Fuki.
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Fuki is not alone in clinging to dubious beliefs; her mother also seeks guidance from a fortune teller. Fuki’s social interactions reveal a common thread of emotional detachment prevalent in many families, including the one she observes when invited to a friend’s birthday, where the meal is endured rather than enjoyed.
Hayakawa’s debut film, the acclaimed Plan 75 (2022), portrayed a near-future Japan addressing its aging population with a controversial incentive plan for early death, capturing the ethical and emotional complexities involved. Similar to her previous work, Renoir is filmed mostly using natural light, adding a layer of authenticity and simplicity. However, unlike Plan 75, Renoir feels more like an exploratory venture into themes of death, childhood, and societal isolation, with a somewhat disjointed narrative. The film’s title, linked to a childhood memory of a Renoir portrait, adds an element of personal but arbitrary significance to the story.
Despite these narrative challenges, the film excels in its portrayal of complex human emotions and the nuanced performances, especially by Suzuki as Fuki. One notable scene involves Fuki hypnotizing a neighbor who confesses her true feelings about her deceased husband, revealing the depth of personal secrecy and sorrow. Another poignant moment is Fuki’s interaction with a lonely pedophile she encounters through the dating line, highlighting her innate understanding of human loneliness.
While Renoir may not be as cohesive as Hayakawa’s first film, it still manages to captivate and linger in the minds of its audience. It’s clear that Chie Hayakawa is on a path that could very well lead to her creating a masterpiece in the near future.
Title: Renoir
Festival: Cannes (Competition)
Director-screenwriter: Chie Hayakawa
Cast: Yui Suzuki, Franky Lily, Hikari Ishida, Yuumi Kawai, Ayumu Nakajima, Ryota Bando, Hana Hope
Sales agent: Goodfellas
Running time: 1 hr 56 min
Daniel Hayes is a business journalist with a focus on market trends, startups, and corporate strategies.
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