Japanese Reviews Reviews

Film Review: Parasite in Love (2021) by Kensaku Kakimoto

"Why does this world insist on keeping me alive?"

With many narratives becoming more or less predictable due to the plethora of stereotypes and clichés attached to them, the tendency to mend their formula or connect them with other concepts is certainly understandable. Since the idea of the love story itself can be altered in any direction and has proven its flexibility in that context time and time again, readers and movie audiences alike have seen (or read) their fair share of these new kinds. In that context, “”, the new film by Japanese director , definitely fits this description as it combines elements of love drama with a comment on social anxieties and even a hint of post-apocalyptic drama. In interviews, the director goes one step further explaining his choice of characters in “Parasite in Love” with the lack of diversity in the society of his home country, with “the opinions of the majority” being regarded as the only right one, leaving very little room for those voices which do not fit the mold.

Parasite in Love is screening at Nippon Connection

For as long as he can remember, Kengo () has been a social outcast by choice. Since childhood, he has been living with a strong case of mysophobia, resulting in him spending most of his time indoors, in the structured space of his apartment, and only a few trips during the week to see the outside world, mostly to go shopping. Especially at night, he dreams of a world changed by a computer virus he is programming, which could re-program mankind to no longer see the likes of him as inferior or outcasts. However, his life changes when one day he wakes up to find a strange man () in his apartment, giving him the mission to take care of a person, or he will report him to the police, with his hard drive certainly containing enough evidence to lock him up for good.

As he also needs the money the man is offering, Kengo decides to at least meet the person he is supposed to take care of, expecting a child. But to his surprise, it turns out he has to look after Hijiri (), a young high-schooler suffering from scopophobia, who has been refusing to ever step foot into her classroom again given her problems with the other students. While any kind of connection between the two of them seems unlikely, over time Kengo and Hijiri feel attracted to each other, as they show understanding for their conditions and anxieties. However, their relationship has a deeper meaning and is linked to the ultimate survival of one of them.

Even though “Parasite in Love” clearly aims to be a love story, the way Kakimoto shows the different sets of phobias of his characters convinces due to the actors' performances as well as their general portrayal. While there are certainly instances of comedy considering the nature of their fears and anxieties, especially when it comes to interactions with “normal” people, both characters are never turned into jokes, and their behavior is not exploited for sensationalist or comedic means. In general, Kakimoto seems more interested in how Kengo and Hijiri function in this world which has labeled them as outsiders, with the former being essentially a shut-in whereas the latter has chosen her own unique brand of making others understand she wants nothing to do with them. More than once, the story even engages in their view on the world, as a place filled with germs and people turning into monsters, which is easily the most disturbing part of “Parasite in Love”, and works thanks to the combination of acting and visual effects.

At the same time, the story shows the juxtaposing feeling of these characters, to create a distance from the world while also seeking some kind of connection. Both Hayashi and Komatsu deliver great performances as two people who have learned to live with their phobia, but who also jump at the chance of some kind of meaningful, emotional connection to someone able to understand and empathize with them. In that regard, “Parasite in Love” succeeds in being a somewhat odd, but also quite engaging love story, although some of its twists and turns could have been omitted, leading to a much better pace in the overall story.

In conclusion, “Parasite in Love” is an interesting blend of love story and comment on social anxieties. Kensaku Kakimoto's feature is quite convincing in its approach when portraying said phobias, visually and narratively, which is also thanks to the two central performances. Although the overall feature could have used a more firm editing, especially its visuals make “Parasite in Love” one of the most enjoyable entries in this year's .

About the author

Rouven Linnarz

Ever since I watched Takeshi Kitano's "Hana-Bi" for the first time (and many times after that) I have been a cinephile. While much can be said about the technical aspects of film, coming from a small town in Germany, I cherish the notion of art showing its audience something which one does normally avoid, neglect or is unable to see for many different reasons. Often the stories told in films have helped me understand, discover and connect to something new which is a concept I would like to convey in the way I talk and write about films. Thus, I try to include some info on the background of each film as well as a short analysis (without spoilers, of course), an approach which should reflect the context of a work of art no matter what genre, director or cast. In the end, I hope to pass on my joy of watching film and talking about it.

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