Koji Fukada's black comedy short may top-and-tail with a shocking revelation, but it's the comedy elements throughout that make this little tale of modern day city life an enjoyable watch rather than an over-emotional drama.
“East of Jefferson” is screening at Vesoul International Film Festival of Asian Cinema
Yuri (Yuri Ogino) and Tatsuya (Tatsuya Kawamura) have met on a night out and move on to a love hotel to do what young people do. But, on closer inspection, Yuri suspects that Tatsuya may in fact be one of her estranged brothers, following her parents' divorce. This leaves Tatsuya with the indignity of, rather than having sex, calling his older brother Tsuyoshi (Tsuyoshi Kondo) to come to the love hotel and confirm if Yuri is indeed his sister.
The trio discuss their younger days and the story seemingly holds true with numerous parallels in their lives and shared memories. This is until, replicating a tale from an American novel, Yuri reveals she was once pregnant in her youth and made the journey to find ‘their' father, leaving a rather awkward scenario for all concerned.
Placing a tale of childhood memories in a love hotel is something that Fukada maximises for comic effect. A simple, single set; the novelty of the revolving bed serves multiple roles: as a display platform for Tatsuya as he sits taking in the revelation in his underwear; and a treadmill for Yuri as she tries to get her daily step count up to required levels. Fukada throws in numerous moments of humor such as this, while the more serious discussions take place. They share a memory of a song their mother used to sing to them when they were young, singing the song out loud, while condoms sit on the bedside table. Fukada certainly puts the setting to good use.
The revolving bed also acts as a sort of music box, with music and memories of childhood flooding through for Yuri as the bed spins around like a precious keepsake. Though we learn that the situation may not quite be as Yuri believes.
Despite everything the three recall, and the supposed shared moment of childhood memory for all of them to lament, this is quickly forgotten once the truth is revealed. The whimsical moment of childhood reflection goes out the window quickly and adulthood is restored. Tsuyoshi is his practical self, leaving the apathetic-throughout Tatsuya and Yuri to get back on with what they were about to do in the opening shot.
For these three, nostalgia is simply a fleeting moment that goes just as quickly as it comes and childhood innocence is a thing of the past. Despite the long conversations and all that has transpired, adult misdemeanours must carry on as initially intended. Fukada is laughing at the adults, and having fun in doing so.
Now, should we put the bed back on revolve?
