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“True Mothers” comes to a joyous conclusion, Naomi Kawase’s narrative of the adopted family brought to a crossroads with their child’s birth mother’s surprise drop-in and black cuttings although there are many times in gloom. And oh, how often “True Mothers” come in at just under a couple of hours and a half, threatening to crush the emotional impact of this vast, time-consuming, but especially intimate drama. Yet the film, although long, is shimmering with beauty and melancholy, and the background of the Japanese filmmaker as a photographer and a documentary-maker lends to this genuine story of the sorrows of a young lady for having abandoned her child years after the fact.
In contemporary Tokyo, Satoko (Hiromi Nagasaku) and Kiyokazu (Arata Iura) are a middle-class marriage that struggles with infertility. While Satoko wants a kid terribly, Kiyokazu’s sperm is blocked and led them to investigate alternative conception methods (with any kind of paternal strip). Kiyokazu is too afraid that they will have to go to Sapporo for an invasive surgery that will lead them to look down on the barrel of childlessness. But a choice is available.
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But that’s not all because of the twisting of the narrative loops in the movie that bypass a possible meeting of the young woman who gave the couple her son, Asato, between Satoko and Hikari (Aju Makita). Hikari literally appears at the doorstep of Satoko more than a half-decade after adoption to demand the child’s back or a lot of hefty money. Hikari’s lover rejects brutally a wrenching moment, shrinking into a weeping heap on her knees. Also, you must try to play this True Mothers quiz.
The title of the Japanese “Asa ga Kuru” (Morning Comes) probably refers to Asato, the boy at the heart of this Adoption War. It helps to impose more of a narrative framework to adapt a novel of the same name as Mizuki Tsujimura than Kawase uses in his work, however, the mixing of the genres of the picture, from casual drama to young romance, to social commentaries, does not work. Luckily, the publisher’s Tina Baz and Yoichi Shibuya have steered several times with wonderful clarity, progressing the plot even with a tension of a cliffhanger, even in 139 minutes of running length.
In three acts, the narrative is motivated by several turning events in the lives of the protagonists. In the first place, Kiyokazu Kurihara (“Air Doll”), well-to-do Tokyo’s. And Satoko’s wife (Hiromi Nagasaku, “The Furthest End Awaits” are introduced). Your life appears perfect, daily enhanced by your lovely kid Asato (Reio Sato). The flashback nevertheless reveals their tribulations and the way a TV program took the young women with unwanted pregnancies in their babies to Baby Baton, an NGO formed by Sheiz Asami (Miyoko Asada).
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With intimate domestic scenes, even such day-to-day routines are realized. For instance watching Asato clean his teeth, or walking with him to the daycare center. It is silently convincing that Iura’s sympathetic representation of a loving husband fighting to resist in the face of shame and her injured manly pride.
When Hikari’s belly starts showing, abortion is too late. Also, her horrified parents have taken her out of school and are trying to hide her. The girl was in shock as she dropped away from Takumi. And ended up in Asami’s unbelievable home for unwed mothers in a paradise island off the Hiroshima coast. She spends the remaining months of her pregnancy looking at the sea and musing silently on life. Framed in great proximities and profiled against the setting sun. Aju Makita transmitted the depth and interiority of Hikari, without any dialog, like a real heroine.
Time passes, and Hikari strikes alone and separates herself from her disadvantaged family. With the unconscious hacker Tomoka, a former sex worker and another young mother of Ms. Asami she runs a paper route. Their link plays a part in the desperate. And the final attempt by Hikari to find her son, the scene at the beginning of the movie. The story goes to an amazing end.
The camera work is excellent, whatever it is shooting. However, when Hikari lights up her face and quiets her in the sun. The sea and the leafy seas develop into a sensual abandon.
For more personality quizzes check this: The Queen Of Black Magic Quiz.
