While politicians slowly realize the effects of digitalization and social media on people, technology has already progressed, leaving a mark on society which will likely last for a long time. As predicted by many, social media is a two-sided sword, creating opportunities for some while also undermining social cohesion and morals. Among the most interesting and worrisome developments is the concept of the online troll, which is one of the few aspects director Keisuke Yoshida deals with in his 2022 feature “God Seeks in Return”. Along with “missing” and “Intolerance”, this is another critical look at how damaging media coverage and social media can be for our society, with this story focusing on platforms such as YouTube, online bullying and, as mentioned before, the idea of the online troll.
God Seeks in Return is screening at Nippon Connection
As he is out with his colleagues, event manager Naoki Tamogami (Tsuyoshi Muro) meets Yuri Kawai (Yukino Kishii), an ambitious but unsuccessful YouTuber. The two start talking and get to know each other, with Naoki eventually deciding to help her with her channel in every way he can. Together they create new videos, which Tamogami often spends nights editing as well as publishing, even though the response to them remains largely negative, resulting in Yuki getting even more desperate than before.
By chance, she gets to know two famous content creators, who provide her with some helpful advice and also a new manager assisting her with the contents and design of her videos. Little by little, Yuki's videos manage to attract more viewers, even leading to increasing online fame. However, as her star is rising, she feels the need to get rid of Tamogami, whose tastes are “old-fashioned” and who just slows her down, as her new friends and colleagues ensure her. Enraged with being left behind and not receiving any recognition for what he has done, Naoki creates his own YouTube profile with the goal to get back at Yuki.
“God Seeks in Return” is a blend of many genres, but it works best as a satire on social media, online damn on troll-culture. Similar to his past features, Yoshida finds the right images and dialogues to make some rather poignant remarks about the aforementioned topics, with one especially funny about how YouTube culture has become less about the content and more about the image. Yukino Kishii's character is an example of a creator selling out, focusing on image and not caring about what she produces, which seems to be more about her physical features, pranks and other PR stunts. At the same time, Yoshida presents some of the problematic side-effects of this culture, starting from a general lack of decency and respect to online harassment and bullying. To those familiar with social media or YouTube culture, these observations are certainly nothing new, but it does not make them any less relevant.
Check also this interview
If there is something to be criticized, it is the addition of the love story (or rather love drama). Kishii and Muro work quite well as main characters, emphasizing the change Yuki and Naoki go through due to what is happening to them. At some point, it becomes quite clear though where this development and their changed attitude will lead them to, with Yoshida eventually deciding for what is certainly not the best ending. It most definitely takes away some of the more acidic comments contained in the story, such as the progression of Naoki's online persona. Also, the idea of the people behind the content being referred to “gods” brings a layer to the satirical elements, which should have been explored more.
“God Seeks in Return” is a blend of love drama and satire, with the latter part being the most entertaining and interesting. Keisuke Yoshida opts for a solid, but ultimately disappointing conclusion to his feature, taking away some of its punch.
