‘Renoir’ Review: A Delicate and Touching Tokyo-Set Portrait of a Girl’s Loneliness

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In her inaugural film Plan 75, premiered at Cannes in 2022, Chie Hayakawa portrayed a subtly unsettling future where elderly Japanese citizens could choose euthanasia under a government program. Initially, the initiative appears benign, but as the story unfolds, Hayakawa’s movie gradually exposes how this policy is rooted in the ruthless capitalist principle that people are disposable. That year, Plan 75 received a “special mention” Camera d’Or (best first film) award and marked Hayakawa as an emerging director to keep an eye on. Three years later, this Japanese filmmaker directs her discerning gaze towards the past.

Making its debut at Cannes, the film Renoir offers a thoughtful exploration of a pivotal summer for young Fuki, portrayed beautifully by newcomer Yui Suzuki. This story unfolds as Fuki grapples with her father’s cancer, her mother’s underlying tension and enduring loneliness, all set against the backdrop of suburban Tokyo in 1987. The film moves at a leisurely pace, seamlessly transitioning from one scene to another through gentle yet deliberate editing (performed by Anne Klotz).

Fuki is our guide as she explores the city and slips into her thoughts. Along the way, she picks up new interests, meets new people, encounters adversaries, and unfortunately, loses some acquaintances. Throughout this fragile narrative, Hayakawa skillfully steers the ship. Toward the finish line, there are scenes that lean toward sentimentality, which may seem overly obvious given the film’s understated tone. Nonetheless, it’s expected to find a wider audience beyond the festival scene, particularly among art house movie enthusiasts.

Similar to numerous melodramatic maturation movies (such as “All Dirt Road Taste of Salt” for instance), the film “Renoir” offers a rewarding viewing experience through its fractured storylines and dreamlike elements. It’s important to note that not all viewers might resonate with its frequency. The movie is subtly profound, much like a hushed conversation between Hayakawa and her own recollections. For the director of “Renoir“, the film’s themes hold deeply personal significance, as they reflect his struggles with the reality of a parent battling a terminal illness, similar to the central character in the movie.

Working alongside Plan 75 DP Hideho Urata, Hayakawa creates an ethereal atmosphere that reflects the perpetual curiosity of a child. At a certain point in the movie, Fuki fixates on Ayumu Nakajima, a man introduced by her mother Utako (Hikari Ishida). In jest, he queries if she finds his face intriguing, to which Fuki, an inquisitive 11-year-old with an unusual intensity in her gaze and direct demeanor, responds affirmatively.

In the initial scene, we come across Fuki, who’s dealing with a haunting start. She’s observing a series of crying infants on an old VHS tape, which she soon tosses in the communal trash bin of her apartment building. This grim, damp location is where she encounters a mysterious man with a gruff demeanor. He queries her intrusively, causing Fuki to become alarmed and flee. Later that night, this enigmatic man chokes her while she sleeps in her bed. Through narration, we learn that Fuki ponders her own mortality at this moment. It’s later revealed that this is a fictional piece written by Fuki for a school project, delving into themes of grief and melancholy. A while after this, Fuki’s teacher consults with her mother to inquire about her well-being.

In numerous aspects, Fuki differs from what one might expect. She’s immersed in the grown-up worries of life, particularly the health struggles of her father, Keiji (a frequent collaborator with Hirokazu Kore-eda played by Lily Franky). Sadly, Keiji is battling cancer, and his wife, Utako, is finding it increasingly difficult to manage his care. When he’s hospitalized at the beginning of the movie, Utako requests that the hospital take on long-term care responsibilities. She anticipates his impending death, and accepting this reality brings its own set of difficulties.

As Fuki’s parents grapple with the heavy emotional and financial implications of an impending death, she seeks to combat feelings of solitude and ennui by immersing herself in hobbies and friendships. She forms a strong bond with Kuriko (Yuumi Kawai), a schoolmate known for her impeccable braided hair, and develops a questionable relationship with Kaoru (Ryota Bando), an older individual she meets through a hotline meant for people yearning for companionship. Despite the various distractions, Fuki’s unwavering fascination with magic and telepathy remains her steadfast passion.

In the beginning of the movie, I found myself captivated by an English TV show starring a peculiar musician. He’d guess cards and make glasses float with his mind, but the intriguing part was his psychic advice – concentrate. Taking this to heart, I convinced others in the story to join me on this mental journey. My most eager partner was Kuriko, and we spent hours performing rituals and trying to read each other’s thoughts. However, when Kuriko eventually left, it hit me hard, leaving me feeling lonely once more.

As a gamer, I can’t help but be captivated by Suzuki’s performance in “Renoir.” The newcomer’s wide-eyed, piercing gaze perfectly encapsulates Fuki’s innocence and curiosity, making her a character I find myself growing deeply concerned for. When Fuki decides to meet the mystery man she’s been speaking with on the phone, I can’t help but feel an anxious tension grip me as I worry about all the potential dangers lurking in that encounter. The movie really hits home because of this emotional depth Suzuki brings to her role.

Fortunately, Hayakawa shows concern for both Fuki, and hence, her character’s eccentricities don’t lead to much trouble. The director, primarily, aims to explore the intricacies of Fuki’s emotional journey, a goal that the movie mostly achieves.

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2025-05-17 21:25