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Sakuran

— It's hell to be in love. It's hell to be loved. I love that feeling when a film has changed my life as soon as it ends. It reminds me exactly why I fell in love with cinema, and Sakuran is one of those films. In it, I found a mixture of a fascinating narrative capable of making several pertinent comments not only about the period it depicts but also about female existence as a whole. I had high expectations when I learned the film was from the same director as Helter Skelter, and I can say the talent evident in this film blossomed even more in her most recent title. What impressed me most about the story was how Kiyoha isn't a passive character, much less one-dimensional; quite the opposite. She's a real person within the events of life, with her nuances, mistakes and achievements, hypocrisies, and the need for survival shared by most women in the same position. She could easily have become a caricature or something very shallow, leaning towards the sexualization of female suffering. This doesn't happen, and I believe it's the work of creating the character's inner world that brings even more connection and empathy; after all, we know her desires, her childish hopes, and her impertinence. I loved the film's production; the colorful visuals, similar to works of art, give it incredible charm. They are a feast for the eyes, especially for me, as I love films where colors aren't diluted. The soundtrack is also great, bringing a clear freshness and differentiation not only to the narrative but to the entire film. In addition, I think the choice of Anna Tsuchiya for the lead role was a good one simply because she is extremely capable of playing female characters with various nuances who don't fall into stereotypes. Just look at her work here and in Kamikaze Girls. Anyway, I loved the film so much.