Among the lively circle of Japanese independent filmmakers, Yutaro Nakamura has made a name for himself with his features so far, focusing on the troubles of relationships within the modern age. Given the restricted budget he has to work with, similar to his peers, he has managed to turn this into a virtue, utilizing minimal means as a kind of magnifying glass to examine his characters' thoughts and feelings, and, ultimately, what is left unspoken. In 2019, he directed “Young and Dumb”, a coming-of-age-drama of two people seemingly in a stable relationship but kept apart somewhat by their inability (or unwillingness) to confront their feelings openly to each other.
Young and Dumb is streaming on Todoif
For six years, Takaya (Takaya Shibata) and Sakura (Mio Matsutake) have been a couple and still live in the same tiny apartment. While Takaya realizes his partner's wish to move out, he has not been making an effort, doing some part-time jobs here and there, but mostly sleeping and being lazy in the confinements of their apartment. At the same time, Sakura tries her best saving her money and keeping track of their expenses, and has become increasingly frustrated with her lover's lack of drive. As her frustration builds, the two of them may have to face each other and the truth about their relationship.
There is a certain aesthetic which is commonly associated with independent cinema, which is not at all exclusive to Japanese movies. However, given the output and successes of recent years, it seems as if it has become the narrative and formal foundation for many projects, and “Young and Dumb” is certainly no exception to the rule. The color scheme, the camera angles and the over-reliance on dialogue over visuals is, if this feature is any indication, part of Nakamura's palette. At the same time, you cannot deny he does his best with what he has got, making the apartment in some scenes feel almost oppressive and like a prison, depending on the situation and the characters interacting with each other in the moment.
Additionally, while the feature is, as mentioned before, very dialogue-heavy, there is something to be said about the contrast of matters being voiced and those which remain silent. Shibata and Matsutake give solid performances as two young people feeling stuck, with especially the latter hinting at issues connected to expectations and self-esteem. Hikaru Kimura's script as well as Nakamura's direction emphasize rather what is being unsaid between their characters, pointing at a dent in their relationship which widens as the story progresses.
In the end, “Young and Dumb” is an independent coming-of-age drama which completely follows the formula to these kinds of features. However, the director certainly has talent, especially when it comes to use the means at his disposal wisely.
