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The latest film from actor-turned-director Daigo Matsui Wonderful World End has two titles, and each proves telling. The English-language moniker Japanese Girls Never Die immediately inspires the question: well, what do they do? That Japanese Girls Never Die also features a gang of uniform-wearing teens running around Tokyo wreaking havoc on the men who dare to objectify and sexualise them should also help it win wider attention.
Kilroy, the three-person graffiti crew responsible for making her so well known, might not have intended to make such a statement, but Japanese Girls Never Die definitely does. The spray paint-brandishing trio has issues too. As their stencils cause a stir, gain media and police attention, and lead to bigger and better things for Manabu and Yukio, Aina slowly catches on to what is happening.
Men are warned to be careful walking the streets at night, for example. In short, Japanese Girls Never Die presents a medley of situations, perspectives and outcomes facing its titular group, as splintered across different age ranges, time frames, and slivers of reality and fantasy. While they comprise three chapters in an intertwined tale, and ultimately reinforce the same overarching viewpoint, each seethes with its own energy. Veering between sincerely profound and subversively satirical with performances to match, Japanese Girls β¦ can be a slightly disjointed and disorderly affair to watch.
Mark Cousins examines the life and work of Scottish artist Wilhelmina Barns-Graham in his latest cine-essay. Delicate Czech drama spends a day in the life of a six-year-old girl as she navigates family discord. Screen International is the essential resource for the international film industry.
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