When one thinks of a ninja, acrobatics, shuriken stars, and rooftop runaways are just a few things that typically come to mind. However, none of these are to be found in Yu Irie's simply titled “Ninja Girl”. What's instead on offer is a wicked satire that's beautifully shot and manages to strike a perfect balance between dark humour and a heartfelt, character-driven narrative.
“Ninja Girl” is screening at New York Asian Film Festival
Miu (Saki Fukuda) is a shy civil servant who takes care of her dying grandpa (Shohei Uno.) in their small home. Thanks to her grandpa's fierce opposition to the so-called Immigration Elimination Act, Miu comes under scrutiny in an already intolerable workplace. Things take a darker turn still when a family friend, Koji (Arata Iura), commits suicide, having aided the mayor in fraudulence to help push through the act. However, Miu finds that the key to justice may well be in her hands, as her grandpa informs her that she's the last in a long lineage of ninjas.
At the heart of the film is a story of corruption. The not-so-subtly titled Immigration Elimination Ordinance is directly tied into the central conflict of the film and is the main cause of pain and even death for many of the characters, particularly non-Japanese. The way in which the entitled buffoons behind the proposed act are portrayed is a clear jab at the current leadership in Japan, though it is handled deftly enough to not be the focal point of the film. For this group of foolhardy policymakers to be tackled by a ninja who's part of an age-old lineage makes for some cathartic poetic justice.
Despite starting out as potentially the worst ninja on the planet, Miu is a surprisingly magnetic protagonist. Her hesitance to take a bold stance against the wrongdoings around her is representative of what most of us go through, some on a daily basis. The empathy you feel with her makes it all the more satisfying when she dons her ninja robes in an attempt to strike back. While feckless at first, Miu grows into her ninja status, integrating some everyday habits into her fighting style in a very entertaining fashion. Saki Fukuda manages to capture all aspects of her character extremely well, in a performance complete with excellent comedic timing.
As far as comedy goes, “Ninja Girl” has some of the driest humour you're likely to see all year. Despite the dark turns the story takes, you'll still find yourself laughing along even at the most inappropriate moments. This is most often true for the film's scenes of violence, which, albeit rare, can in some instances be cringe-inducing while still garnering a guilty chuckle. Such a comedic approach is difficult to execute, yet, as with all other aspects of the film, Irie handles it expertly.
“Ninja Girl” is also a gorgeous film right from the off. Irie's perfectly framed shots make for some eye-watering aesthetics, with everything from office interiors to vast countryside landscapes being equally impressive. The 1:33:1 aspect ratio adds to the small-scale atmosphere of the story and makes Miu's journey as a ninja feel a little more intimate. The intentionally minimal camera movements and often flat shots match the tone perfectly and help to make the film a visually coherent package.
It's not often that a smaller production comes around and blows you away with its brilliance, but for this reviewer, “Ninja Girl” has done just that. A snarky strike on the real-world powers that be, Yu Irie's wonderfully dark political satire demonstrates off-beat comedy nailed to a T and blends it all with a wonderfully bizarre narrative. Don't let this one sneak by.
