The bond between parents and their children is at the core of many narratives, especially when it comes to the idea of passing on knowledge or teaching someone skills you feel are necessary to survive in this world. During his career, Japanese director Naoya Asanuma has explored this link quite often, if features such as “Fuyu go moetara” (2017) or “My life, My love and My pickpocketing” (2015) are any indicators. His newest feature, the short “The Stolen Ocean” is no exception to the rule, blending family drama and road movie and resulting in a tale about two outcasts, which benefits especially from its two central performances, and which receives its international premiere at this year's Japan Filmfest Hamburg.
The Stolen Ocean is screening at Japan Filmfest Hamburg
However, it is not just the bond between father and child which connects Kosuke (Takaki Uda) and his daughter Hazuki (Riho Toshio). In order to provide for themselves, the two also form a team of burglars, breaking into apartments and family homes, while disguising as a salaryman and a high school student. After the deed is done, they drive to the next town or just live off the money while it lasts, before returning to their crimes. Lately, their companionship has been strained, though, since Kosuke feels his daughter is becoming too reckless, whereas she is increasingly concerned about his health, with the years on the read finally taking their toll in her father's well-being.
Similar to many other features, such as Hirokazu Koreeda's “Shoplifters”, for example, the story unfolds into two axes. On the one hand, the tale of father and daughter shows the happiness of the two main characters, while goofing around and enjoying the time on the road, but on the other hand, Kosuke and Hazuki are also labeled outsiders considering their choice of making a living and their status of being essentially homeless. This is also one of the main instances of confusion right at the beginning, when you are observing the two of them stealing from a home and later one being caught in the act and having to flee the scene of the crime. In the end, perhaps the temporary homes of those people they steal from have become a substitute for something they do not have, at least not physically or geographically.
At the same time, the short explores how the concept of home can also be a feeling of happiness or an emotional connection. This angle works quite well, especially due to the performances by Uda and Toshio, making the bond between their characters believable and essentially defining the emotional core of “The Stolen Ocean”. There is a certain tenderness in their scenes together, also highlighted by the cinematography and the bittersweet music, which, however, also is a a bit too much in some moment, specifically at the end.
In conclusion, “The Stolen Ocean” is a well-acted and solid short feature blending family drama and road movie. Naoya Asanuma manages to direct a convincing feature about the emotional connection of two people, but also their slow realization their time is about to come to an end.
