Takehiro Shindo in his second feature film “Closet” addresses the issues that now, in the times of pandemic, after or in-between lockdowns cum other restrictions of social activities, seem disturbingly up-to-date. In the center of his interest lies loneliness, the need for the presence of other people, and crave for somebody else's touch.
Closet is screening at Camera Japan
The director tells about mundane eccentrics through the story of Tasuku, a troubled young man from Tokyo. Tasuku, experiencing some rough phases of his life, finds a new and quite unusual job. He becomes a “soine” – a person, who cuddles clients suffering from insomnia before sleep. Soine's code of conduct is strict. They give just comforting embraces, without any erotic connotations no matter how attractive the patron is. Sex with a client is not an option. But to the details of the job, they need to be flexible and creative. The sole cuddling process is an art in itself. You need to know what works best in each case. Hug from behind? Or elbow working as a pillow? Or allowing a client to listen to your heartbeat? However, embracing is just one part. Soines have to make their patrons feel safe. This safety enables people to open up. So Tasuku listens to countless confessions about their day-to-day worries.
As one may expect in a movie like that, we get a bunch of recurring characters, who have their share of daily concerns and some of these stories will end better than others. Not all of them are lonely. Some have their partners, who could take the task, but taking the services of a stranger helps them to open up. Tasuku, through interactions with his clients, will learn about the painful secrets people hide behind a shiny facade. First clumsy and nervous in a new situation, slowly he will develop a better understanding of others, learn to listen, and come to terms with his own demons.
The idea was cheeky, but the execution somehow disappoints. The story seems too chaotic, and for most of the time leaves you lukewarm. However, some segments stand out, like the most touching one with an elder lady and her pet lizard, which perfectly blends humor with sadness. The movie also tries to kill too many birds with one stone, as important issues are squeezed within just 90 minutes of runtime. As a result, problems appear just to be a checklist control. However, the director managed to create a great load of intimacy and connection between the characters. The whole ensemble cast gives convincing performances, despite the script's demerits. Most of the time, they work just in duos, talking (and confessing their worries) in the narrowed space of their bedrooms and apartments. Cinematography by Shigeru Tajima helps to build this intimate, but not claustrophobic, atmosphere. And overall, despite its flaws, this ‘Sleepless in Tokyo' seems well-fitted for the times.
