Media watch: Former justice minister gets firsthand look at prison life—as an inmate

In June 2021, Katsuyuki Kawai was sentenced to three years in prison and fined ¥1.3 million for violating the Fair Elections Law after a judge determined he had bought votes for his wife, Anri, when she was running in the 2019 upper house election in Hiroshima as a member of the ruling Liberal Democratic Party, a seat she won. At the time, Kawai, also an LDP member, was not only a sitting lawmaker himself, but the Minister of Justice, having been appointed to the post by then-Prime Minister Shinzo Abe. Following the vote-buying allegations he resigned as justice minister, and in June 2020 was arrested along with his wife, who quit the Diet in February 2021. Katsuyuki quit two months later. 

On Nov. 29, 2023, Kawai was released on parole. He recently published a book about his time at Sakura Prison in Tochigi Prefecture, making the most of the fact that he is the first justice minister to ever be locked up. In recent weeks, he’s been making the media rounds to promote Prison Diary: The Justice Minister Who Went to Jail, and the coverage has not only been non-judgmental, it’s often been light and lively. A good example is his appearance on Abema TV’s “Abema Teki News Show,” which went as far as dramatizing several prison anecdotes described in the book. What was different, even refreshing, about the presentation is that Kawai seemed to have learned a lot about prison life that most politicians, including those interested in legal matters, would probably prefer not to have to talk about, and that such knowledge should be standard for the person who is essentially the highest ranking law enforcement official in the country, even if, practically speaking, most of the people appointed to that job aren’t really qualified to do anything except rubber stamp pronouncements from the bureaucracy or the ruling party’s leadership. 

Even Kawai’s overall assessment of the purpose of his imprisonment was startling, given that he was once a firebrand for the LDP and martyred himself for the sake of the party: It’s generally believed that the crime for which he was convicted amounted to following orders from his superiors, including Abe. At the beginning of his interview on Abema TV, he said that the facility where he was incarcerated is not referred to officially as a “prison,” but rather as a “center to promote rehabilitation,” a term that made him laugh since he received absolutely no instruction that could help him “reenter society.”

Most of the assigned work, for instance, was pointless in that no skills were transferred that might be useful on the outside. His first job was folding origami cranes (orizuru) for some private company, a task he never got the hang of. He was then sent to the prison library, where his main job was to inspect books donated for the prisoners’ use. Most were old and damaged, so he repaired them with glue and cellophane tape. He worked eight-hour days, Monday through Thursday. Friday was “instruction day,” when he was supposed to learn about the errors of his ways and how to be a good citizen, but most of it involved watching boilerplate videos, usually NHK programs. He then was told to write about the instruction as it applied to his own situation, an assignment that never made sense to him. Saturdays, Sundays, and holidays were free days during which he could do anything he wanted, but as he pointed out, most prisoners just slept because there were few options available and it was always cold, so instead of sitting around on the frigid floor (there were no chairs or beds) it was easier and more comfortable to just wrap up as best you could in the futon. 

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Review: Emmanuelle

Because Audrey Diwan directed Happening, a movie that honestly addressed abortion, it’s likely her remake of the 1974 softcore classic, which launched countless sequels and copies, will be described as a feminist take on the subject; but even if it was directed by a man it had its feminist defenders at the time, people who said that the title character owned her sexual agency and was therefore forward thinking. Having never seen the original I have nothing to add, but Diwan’s version is pretty boring, especially in the titillation department. (To be fair, it wasn’t her project. She was hired.) The sex is mostly of the imaginary kind, meaning Emmanuelle (Noemie Merlant) often fantasizes about it, thus conjuring up ideal sexual encounters to her own tastes. But much of the sensuality is submerged into the suggestive dialogue, which is in strained English even though Emmanuelle herself is French.

The setting is Hong Kong, more specifically a luxury hotel that Emmanulle is “inspecting” for the company that owns it. She occasionally checks in with the hotel’s manager (Naomi Watts), with whom she seems to have some kind of beef, probably because that’s her job, but the business talk effectively stops whatever passes for a plot dead in its tracks since the screenwriter, Rebecca Zlotowski, doesn’t betray much knowledge of the economics of running a hotel, especially one as self-consciously upscale as this one. She does manage to inject sexual innuendo into almost every conversation, though, including one about disaster management, and when champagne corks pop you get the idea of just how limited the filmmakers’ ideas are about conveying pleasure. Are they trying to intellectualize the original material, which, after all, started out as a novel? Or are they making fun of it? In any case, Emmanuelle seems to have the hots for one resident, a vaguely Japanese civil engineer named Kei (Will Sharpe), who picks up on her double entendres and treats them as philosophical puzzles rather than come-ons. 

In the end, Emmanuelle the movie is more about money than it is about sex, though I’m not sure that was the intention unless Diwan, after realizing what she’d gotten herself into, decided to sabotage the whole thing from the inside; meaning, it’s not a bad movie, only a pointless one. 

In English and French. Now playing in Tokyo at Toho Cinemas Hibiya (050-6868-5068), Toho Cinemas Shinjuku (050-6868-5063), Kino Cinema Shinjuku (03-5315-0978), Shibuya Cine Quinto (03-3477-5905), Toho Cinemas Nihonbashi (050-6868-5060), Toho Cinemas Roppongi Hills (050-6868-5024).

Emmanuelle home page in Japanese

photo (c) 2024 Chantelouve-Rectangle Productions-Goodfellas-Pathe Films

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Review: Formed Police Unit

Sometimes the background of a movie is more interesting than the movie itself. This action blockbuster about a Chinese UN peacekeeping force sent to a wartorn African country had its shooting schedule extended about half a year after its star, Zhang Zhehan, caused a scandal when photos emerged on the internet of him visiting Japan’s Yasukuni Shrine, where Japan’s military dead, including Class A war criminals accused of atrocities in China during World War II, are enshrined. Moreover, another photo had him shaking hands with Dewi Sukarno, the Japanese widow of the Indonesian tyrant of the same name and a noted rightwing firebrand in Japan. Though there was some speculation that the photos were fabricated, Zhang didn’t do himself any favors by coming up with pretty lame excuses for their existence and has since been blackballed, and that meant all his scenes in FPU, as the movie is titled in Japan, had to be reshot. 

In any case, the film was picked up by a Japanese distributor, presumably because of its action pedigree, and on that front it has some crowd-pleasing elements, especially near the end when the gunplay, explosions, and mano-a-mano fist fights are ramped up to 10. Other elements are less enjoyable, in particular the script and the expository staging. The soldiers are policemen who’ve been selected to “form” the peacekeeping unit and then trained in warfare. This elite aspect translates as a jingoistic attitude that not only permeates the squad but imbues the plot with an unsubtle patronizing air toward anyone in the movie who isn’t Chinese. Supposedly based on a real PK mission in Sierra Leone that China participated in, the movie takes place in the fictional country of Santa Leonne, where a rebel leader, backed by evil white foreign mercenaries, is trying to overthrow the government, wiping out whole villages in the process. When the Chinese arrive they’re initially met with suspicion by the natives, but eventually they win their trust with excellent public service, a situation that’s conveyed through manipulative montages of FPU members putting up streetlamps and assisting in classroom lessons for children. When their activities run up against the stiff bureaucratic rules of the UN, they’re invariably scolded but in the end always end up on the right side of the argument, whether the situation is martial or not. The UN honchos are shitty negotiators and tactically inept, while the Chinese are disciplined and always act on moral principles.

There’s not a lot of nuance to the presentation. Subplots involving two young police recruits whose desire for real action gets them in trouble with their superiors and another recruit’s determination to live up to the example set by his policeman father, who was killed in action, are hackneyed and underdeveloped. But lack of nuance doesn’t hurt the violent set pieces, one of which takes place in a wild tropical storm that adds considerably to the visceral excitement. Suffice to say it could have been a lot better had the nationalistic prerogatives that had a hand in the film’s delay not been incorporated so forcefully into the screenplay, but what else would you expect from a Chinese blockbuster that touches on foreign policy? 

In Mandarin, English and French. Opens Jan. 10 in Tokyo at Toho Cinemas Hibiya (050-6868-5068), Toho Cinemas Roppongi Hills (050-6868-5024), Toho Cinemas Shinjuku (050-6868-5063).

Formed Police Unit home page in Japanese

photo (c) 2024 Zhongzhong (Huoerguosi) Films Co., Ltd. & Wanda Pictures (Huoerguosi) Co., Ltd.

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Number 1 Shimbun, January 2025

Here’s our latest article for the FCCJ, which is about the Korean response to Japan’s newest World Cultural Heritage site.

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Review: Blackbird Blackbird Blackberry

The character of Etero (Eka Chavleishvili) is familiar in a literary way. A single woman in her late 40s whose life has been in service to the males in her family, specifically an older brother and a widowed father who blames Etero for the death of her mother. Now that both men are dead themselves she is the token spinster in this Georgian mountain village, a reticent woman who runs a bleakly understocked general store and spends most of her free time picking blackberries near a gorge by the river, a pastime that almost gets her killed in the opening scene after she’s distracted by a particularly striking black bird. The metaphor is a bit heavy-handed, but the subsequent story about Etero finally finding love is unusual in ways that aren’t familiar.

Suffice to say that Etero’s near-death experience jolts something elemental in her, and she responds to this feeling by seducing her deliveryman, Murman (Temiko Chichinadze), later that day. Murman is married and even older than Etero—he often regales her with stories about his beloved grandsons—but he gives in to her and they make passionate love in Etero’s store room, a scene that the director, Elene Naveriani, adapting an award-winning novel, stages with all the awkward naturalism you would expect from two middle age people who don’t normally do this kind of thing. From there the affair is touch-and-go, as the pair meet clandestinely in places outside the village. But does being in love for the first time (“That’s what it’s like to lose your virginity” she says to herself after the initial tryst) actually change Etero? It’s hard to say because she is such an unreadable character. Chavleishvili maintains a stony, severe expression throughout the movie, wide-eyed but unsmiling, so on those rare occasions when she does smile, the effect is as chilling as it is comical. It also means that when she is transported by lust she seems all the more sensual, an attribute her female neighbors, all of whom are married and aspire to middle class affluence, could never imagine, as they look down on Etero despite knowing how cruel her upbringing was. Only Murman shows her the respect and kindness she’s never been afforded before, but believing that her independence has been hard won, she refuses to give it up, even when Murman proposes she join him in his new employment endeavor as a long-distance truck driver in Turkey, where they can live together, albeit in sin. The sin part doesn’t bother Etero. It’s the living together. She prefers her solitude.

Until the final scene most of the story’s twists and turns are gentle ones, and the ballast that stabilizes the whole enterprise is Chavleishvili, whose unique features and expressiveness are spellbinding. Even Naveriani occasionally seems transfixed by her lead actor, and will hold her face in the shot for an uncomfortable few beats too many. In that regard, Etero is totally unfamiliar, a rare bird who transcends the conventionally beautiful and enigmatic. 

In Georgian. Opens today in Tokyo at Human Trust Cinema Yurakucho (03-6259-8608).

Blackbird Blackbird Blackberry home page in Japanese

photo (c) 2023 Alva Film Production SARL-Takes Film LLC

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Review: The Beekeeper

Director David Ayer should have checked out some Korean revenge flicks before taking on this Jason Statham vehicle. The Koreans have produced hundreds if not thousands and in the process had to think up new and more interesting reasons for getting back at someone. Statham’s Adam Clay is one of those loners whose past had something to do with a secretive organization of killers that the screenwriter, Kurt Wimmer, never bothers to explain, but Clay’s provenance as a super badass isn’t the only deus ex machina in the film. The victim for whom Clay goes on a rampage is his landlady, or, at least, the older woman whose barn he uses to keep bees and produce honey. She commits suicide after being scammed out of her life savings and a $2 million charity fund she oversees. She seems to be only person in Clay’s life who has ever been kind to him, but that aspect isn’t explored either. Even worse, the woman’s grown daughter works for the FBI and has to deal with all the mayhem Clay causes in going after the scammers, a quest that takes him to the very top of the U.S. government.

So while The Beekeeper is pretty standard issue Statham, meaning he gets to keep his British accent and punches and kicks between pointed one-liners (most of which reference bees), there aren’t many elements outside of the violence and the jokes to keep the viewer interested beyond the first major reckoning, which involves Clay setting fire to an entire office building—right after warning the people who work there that that is exactly what he’s going to do. There also isn’t much to make us question the total lack of moral investigation in Clay’s actions, because the guy at the top of this pyramid of capitalist overreach (Josh Hutcherson) is as standard a villain as Statham is a vigilante, meaning it’s difficult to imagine such a man had not yet been offed by some other angry person before Clay shows up to destroy his business and his life. 

And then Jeremy Irons appears in a totally gratuitous role as a former government cop now in charge of security for people whose involvement in the scam isn’t revealed until the very end. Irons’ main job in the film, besides being the only character with a smidgen of conscience, is to essentially explain how dangerous this secret society is (it seems the U.S. government has used them in the past) and warn his underlings about Clay’s capabilities, which, of course, they ignore because of the standard villain thing that Wimmer feels he’s entitled to as a storyteller. The trouble with cheap revenge flicks is that they don’t really provide the kind of satisfaction that exacting revenge is supposed to supply. If you can’t believe in someone’s right to get back at patented assholes, then what can you believe in?

Opens Jan. 3 in Tokyo at Marunouchi Toei (03-3535-4741), Shinjuku Wald 9 (03-5369-4955).

The Beekeeper home page in Japanese

photo (c) 2024 Miramax Distribution Services, LLC

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Best Albums 2024

After way too much consideration, I finally pared my shortlist of good albums down to a manageable top 10 and then some, a development that would seem to suggest there was a surfeit of great music this year. I’m not going to go out on a limb and state categorically that there was or there wasn’t. As with all things having to do with taste and discernment, my choices had more to do with my own state of mind than with the quality of the product in general. Better critics than I have pointed out that every year the volume of music released increases exponentially and that there’s no way one can hear all of it. But more to the point, modern life is distracting, and I will go out on a limb and state that it’s more distracting than it was when I was younger. For one thing, I listen to much more music on headphones than I used to—or ear buds, if you prefer—and it has an effect. Though I still like loud music and raunchy outpourings of emotion, I think I find greater pleasure now in the intimate detail, regardless of how it’s presented. It could be a function of the way I listen to most music nowadays, but it probably has to do with aging. More than ever I long for the sought connection, because I want to feel seen in my senescence. That love song was written for me, and you can’t convince me otherwise.

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Best Movies 2024

The three people who follow my movie reviewing exploits will notice an odd difference in this year’s best-of list: two-count-’em-two Japanese films. As I’ve written before, though I live in Japan I don’t see as many Japanese films as I should, mainly because I find most Japanese filmmakers today uninteresting and big budget Japanese studio films are basically showcases for idols, which I know doesn’t make them unique in the world but Japanese idols seem to have learned their craft at the same school for overactors. The real main reason I mostly review non-Japanese movies is because I think of this vocation as being a public service. There are no longer any Japan-based publications or websites in English that introduce foreign movies at the time they are released theatrically in Japan—which in many cases is much later than the respective release dates in their countries of origin. The movie writers at the Japan Times do an excellent job of covering new Japanese releases, so those films don’t need me. And since I don’t get paid for my efforts (any more), I’m free to speak my mind, which, if I were writing in Japanese, might get me into trouble with the publicists and distributors who keep me on their mailing lists, but they seem fine with my opinions; that is, if they actually read and understand them. In any case, the ones representing the movies mentioned below should be happy, but they probably won’t know unless I tell them, and I don’t plan to do that. That’s a task too far for someone who doesn’t get paid. 

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Review: Vision of Makhmalbaf

Mohsen Makhmalbaf left his native Iran in 2005 and has since established the Makhmalbaf Film House in London, where he produces his own movies and those of his wife, Marziyeh Meshkini, his daughters, Samira and Hana, and his son, Maysam. Many of these films have addressed the situation in the Middle East, mainly Afghanistan, to which the family has always professed an affinity due to the country’s cultural and linguistic associations with Iran. Two of the production house’s more recent films in this vein will be screened as a double feature starting December 28.

The List is officially credited to Hana Makhmalbaf as director, though Mohsen is its star in every way. It’s a harrowing, real-time recording of the effort made by Mohsen and his family to extract some 800 artists from Kabul at the end of August 2021 before the Taliban take full control and arrest them—or worse. Most of it takes place in the offices of Makhmalbaf Film House as Mohsen argues over the phone and via email with officials from France and the UK for help in getting the artists out. The US, which controls almost all of the flights out of Kabul, is uncooperative from the beginning. These scenes are skillfully interspersed with cell phone recordings of the chaotic situation in Afghanistan shot mainly by the persons in Kabul who are trying to escape. The tension never lets up and the weeping and gnashing of teeth that attends every heartbreaking development is presented without comment or embellishment. It may very well be the last word on this tragedy, which has since become mired in political gamesmanship, and while the 67-minute document is pure seat-of-the-pants filmmaking without the aesthetic conceits that Makhmalbaf usually brings to his films, it’s more artfully put together than anything he’s been involved in since living in exile. 

The other film on the bill, the 62-minute Here Children Do Not Play Together, also eschews the “poetry” that has typified Makhmalbaf’s style in the last two decades. In voiceover he says the footage constitutes “research” he carried out in Jerusalem regarding the Palestinian-Israeli question, which, to him means, Why don’t they get along, especially since the Hamas attack on Oct. 7, 2023? He interviews several people, mainly a voluble Afro-Palestinian “alternative tour guide” who was once jailed by the Israelis for planting a bomb, and a younger Israeli man who is trying to bridge the considerable gap of understanding between the two sides, though in exactly what capacity it’s difficult to determine. The movie is thoughtful and tasteful in the Makhmalbaf style, but not nearly as informed as his work on Afghanistan. He concludes that when children of different cultures grow up together (i.e., go to the same schools), they rarely hold grudges, regardless of what baggage their respective cultures carry; which is hardly a novel theory.

Both films in English and Farsi. Now playing in Tokyo at Theater Image Forum Aoyama (03-5766-0114).

Home page in Japanese

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Review: Occupied City

Award-winning filmmaker and visual artist Steve McQueen interweaves a variety of cinematic approaches into his documentary tapestry of Amsterdam during the Nazi occupation of 1940-45. Based on the book Atlas of an Occupied City by Bianca Stigter, who is married to McQueen, the movie maps the German occupation through carefully edited anecdotes attached to specific addresses, but not in chronoligical order. In fact, the movie’s structure is willfully free and random, which may be why McQueen elected to leave its running time at four-and-a-half hours, including intermission. Though the stories, as narrated in English by Melanie Hyams with an almost deadbeat intensity (her mixture of British accented English and proper Dutch pronunciation of local names and places is expressive enough), are fascinating in and of themselves, it’s their cumulative power as acts of individual purpose that gives the movie its unique dramatic dimension. Concepts like bureaucratized Nazi antisemitism and gratuitous cruelty; resistance bravery and resourcefulness; and victim dehumanization are all addressed at the micro level, and while certain repeated themes have an almost numbing effect the oppressive atmosphere of the era is acutely felt. 

However, McQueen’s visual methodology often distracts from the narrative precision. All his images are of Amsterdam now; or, more exactly Amsterdam in 2021-22. He attempts to show those addresses described in the narration as they appear today and invariably catches modern people doing 21st century things that have no relationship to the tales being told. In many cases, the buildings described no longer exist, so Hyams concludes those stories with the word, “demolished.” As already mentioned, McQueen started as a visual artist, and many of his images are aesthetically striking, thus prompting the viewer to wonder if a connection is being made between the narration and the image. As a number of critics have already pointed out, the pandemic was at its peak during much of the shooting, and it’s difficult to avoid the feeling that McQueen may be forging thematic connections between the Nazi crackdown on freedoms and the official public response to the COVID crisis. I don’t see that myself, but the contrasts are often more confusing than illustrative.

It should be noted that McQueen, a British national, lives in Amsterdam, and his familiarity with the landscape comes through clearly in how he has chosen to shoot various locations. His use of overhead shots is particularly impressive, especially at night as his camera darts down narrow, empty streets. I’m tempted the say that he could have made two (much shorter) movies—one about the Nazi occupation as a standard historical documentary, and another about Amsterdam as a special environment whose urban situation is keenly reflected in its social sensibility. But both those projects would have been conventional, and it’s clear that McQueen isn’t interested in making conventional films, be they fiction or non-fiction.

In English, Dutch and Arabic. Opens Dec. 27 in Tokyo at Human Trust Cinema Yurakucho (03-6259-8608), Human Trust Cinema Shibuya (03-5468-5551).

Occupied City home page in Japanese

photo (c) 2023 De Bezette Stad BV and Occupied City Ltd.

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