“Shota (Nijiro Murakami), an aspiring actor moonlighting as a con artist, is inexplicably drawn to the emotionally destitute Takara (HAruko Imou) when his troupe conduct a drama workshop at the care home she works at. He, an unfulfilled soul hiding a multitude of emotions beneath a callous exterior; she, a withdrawn victim of her traumatic past. Brought together by an accidental crime they commit, the two mount an impromptu escape, running from their deed and their bleak lives. Will they find what they're looking for?”
Soiree is screening at Japan Society
A film based around the idea of man falling in love with troubled woman after an event that forces him to flee and protect her is a rather tired concept within cinema. In addition, the set-up has become formulaic to a point of being predictable with little deviation. “Soiree” is no exception and by the end of the feature the 'emotional' conclusion is both predictably dull and fails to draw out the cathartic reaction it desires. This journey is also painfully paced and the film could have easily had been cut down to help aid in flow towards the predictive climax.
Unfortunately, the derivative approach muddles the unique characteristic of both Shota and Takara transitioning from accomplishes to romantic partners. Each struggle makes sense when self contained within that scene, but in piecing it all together, a sense of defining personality becomes lost. However, In the face of a stale premise and unconvincing archetypes, the film is not without its saving graces.
The performances from both Nijiro Murakami and Haruka Imou help keep the film afloat, as both actors really embrace their troubled personas. Both transition between fragility and determination, often in contrast to the other's emotional responses. This push and pull effect does give weight to the tired script that would have failed if not for such strong leads. An amazing showcase of talent for the young actors, Nijiro Murakami and Haruka Imou are the definitive highlight of the production.
Visually, the film offers up a stunning portrait of the Japanese landscape, with the production having a nice flow thanks to some gorgeous pans and wide shots. The visuals also a see shift with the declining mental state of Shota as his paranoia becomes reflected in ghost like visions and sporadic behavior. This transition does off the one real shift in tone throughout the production and the horror of the man's situation is better presented within visual narrative over dialogue.
“Soiree” is your typical ‘couple on the run' film with little deviation and an overblown run time. There are separate elements to be admired, in both acting and cinematography, but the core experience is too redundant to make it stand out.
