Films about manga aficionados are not exactly a rarity in Japanese cinema, considering the size of the particular industry both in the country and internationally. Shunsuke Kariyama, however, instead of moving into romantic paths, chooses to channel the main premises of BL (boy's love manga), in an almost opposite fashion, as the movie focuses on the friendly relationship of two women, a teenager and an older one.
BL Metamorphosis is screening as part of Japan Foundation Touring Film Programme 2023
Yuki Ichinoi is a feisty elderly woman who spends her time alone after the death of her husband, teaching calligraphy to children. One day, she enters a bookstore and stumbles upon a BL manga, which she proceeds to buy out of curiosity, also because she liked the cover. The clerk of the store, seventeen-year-old Urara, a highschool student and part-timer there, is surprised to see someone at the age of Yuki buying such a title, and even more surprised when the next day, her customer, who has already been hooked in the genre, returns to buy the next volume. Since Urara is also a secret fan of BL manga, she finally manages to move beyond her timid nature and reach out to Yuki, with the two soon becoming friends. As their connection becomes stronger, they also help each other in a number of ways.
Based on the homonymous manga series by Kaori Tsurutani, Shunsuke Kariyama directs a rather easy-going but also quite sensitive film, which focuses mostly on two axes. The friendship of two radically different women and the ways it changes them, and how art, in this case manga, can bridge any kind of differences, with the last comment essentially criticizing the notion that the aficionados of this type of publications are essentially unsociable loners. The way the relationship is built is definitely one of the best traits of the movie, with both being reluctant and moving into unknown territory, but also showing from the beginning, their eagerness to connect with someone. In that fashion, one could say that the loneliness they both feel, Yuki for being an elderly widow and Urara since her parents are not with her, is what brings them together, but Kariyama definitely stresses that BL manga are at least as important in how their friendship is formed.
Also of interest is the way the relationship changes them, particularly Urara, who finally finds the courage to draw her own manga, with the second part of the movie focusing on this aspect, and to confront the fact that the boy she has feelings for, childhood friend Kyohei, is in love with the popular girl of the classroom, Yuki. The way she reacts to the latter in the beginning, and how her attitude changes after her friendship with Yuki is cemented, highlights this aspect in the most eloquent fashion.
Lastly, Kariyama presents a rather close look on the world of BL manga, and particularly on how hard it is for someone to become professional, although the approach is at least partially romanticized, also in order to present a comment about the value of chasing one's dreams.
Mana Ashida as Urara and Nobuko Miyamoto as Yuki showcase a wonderful chemistry in their antithesis, which moves though, in a very amusing reversal path, as the young one is the conservative, timid one, and the older the feisty, “you-only-live-once” type. Also amusing is the way they form a mother-daughter relationship through food, which Mana never seems to decline.
Kosei Tani's cinematography is fittingly polished and bright, with Yuki's traditional house offering a number of rather appealing frames and overall images. The editing results in the regular leisure pace of Japan indies, with the omnipresent lagging and delaying also being present here, essentially taking time from some more focus on the romantic arc, which would be rather welcome.
Apart from this almost standard issue, “BL Metamorphosis” emerges as a rather pleasant movie to watch, which will satisfy both fans of manga and family dramas.
