In the beginning, one could be forgiven for rolling their eyes at Mayu Nakamura's “Among Four of Us.” Its opening has all the makings of a generic COVID flick; it skims over the now almost cliche uncertainty we face amidst a phone-call catch-up, and shows its small ensemble pining for some form of normality. Yet, by its culmination, it evolves into so much more. At its core, it is resolutely thought-provoking, and is the type of short which skilfully uses its backdrop (in this case, the pandemic) as a prop, not a crutch.
“Among Four Of Us” is screening at the Osaka Asian Film Festival
Centrally, the film revolves around a trio of middle-aged former college classmates, all gathered in local public spaces at night to converse with each other over alcohol. At first, their conversations are playful and breezy, mostly focused on the situation everyone finds themselves living in, but imbued with optimism about being able to physically meet in the future. There is a warmness to their friendship throughout these introductory scenes, and the three friends appear to be comfortable in their respective lives. However, when Sayoko, a promiscuous actress and former acquaintance to all three is brought up, things quickly turn sober.
From here, the intensity builds. Revelations about affairs are brought forward, false allegations of sexual misconduct are disclosed, and the fate of their mysterious ex-acquaintance slowly unravels.
When “Among Four of us” truly finds its footing, it is a gripping entry into the slice-of-life genre. Rapidly paced, it bombards the audience with shocking information and titbits about its protagonists, which will have viewers gripped in spite of the small budget setup. Each character seems both sympathetic and detestable, with the motives behind their actions undeniably shady, but in a similar vein occasionally morbidly justifiable. The brooding intensity across the twenty-minute runtime is palpable even if the ending announcement comes as little surprise, and it is hard not to be stunned by what unfolds during a night which started as an affable virtual assembling of long-time friends.
Continuing, the murky context in which Sayoko, who lurks in omnipresent fashion in the minds of the group, remains in is executed near-flawlessly. Through hearing only stories told from differingly sympathetic perspectives, the audience gets to know the crux of a troubled woman who lived a troubled life, and leaves unsure as to how they should feel about her alleged actions. Sayoko is the highlight of Nakamura's tight script, and an essential addition into the narrative.
Furthermore, despite the generally understated ambience to the movie, all three of the actors work extremely well in giving their depictions a subtle depth. Fusako Urabe is particularly good as Fusae, a bitter woman who harbours extreme resentment towards Sayoko, and remains unabating in her contentment with taking what she believes is rightfully hers. It is an excellent performance, giving proceedings a bit of bite which skews away from the reserved contemplation Kota Kusano brings to the role of Koji, and the bristling curiosity Nahana opts for in portraying Nanae.
Technically, there can be no complaints either. Director of photography Tomohiko Tsuji is smart with his locations, tinting them with darkened but optimistic hues, and placing his characters in locations that otherwise would have been bustling, such as parks. It tinges the film with a rather bleak, tense backdrop, which also wraps perfectly around the darkened subject matter.
In conclusion, “Among Four of Us” is a highly contemplative effort. It ensures that the audience will ponder the influence people can have on our lives through sharp writing, and never ceases in momentum once the attention turns to the group's old friend and foe. Nakamura's short is bound to have people talking, and that is exactly what this type of cinema should do.
