Unless you attended school in Japan, you might not realize that eating a school-provided lunch with your teacher in the classroom is a common practice. Set in 1986 Japan, “School Meals Time Graduation” is a food comedy about a teacher and his students competing to see who enjoys their lunch the most—a challenge that becomes increasingly difficult when the government implements healthier but less flavorful meals. The film is a sequel to “School Meals Time Final Battle” (2020), directed by Shinya Abe.
School Meals Time Graduation is streaming on JFF Theater until 2025/05/01 11:00:00 [JST]
The story follows Amarida, a passionate school lunch enthusiast, who has just been transferred to a new school. As a sequel, the film does a fine job of reintroducing its protagonist. We quickly learn that Amarida is not only obsessed with school meals but also an extremely strict teacher. He stands at the school gate each morning, greeting students as they arrive—only to scold a student for being too focused on studying while walking to class. He meticulously evaluates each meal and eagerly anticipates his next one.
However, when the School Meals Center decides to prioritize nutrition over taste, the once-enjoyable lunches become bland. While there are tricks to mix and match food to make meals more exciting, the overall dining experience suffers, and students gradually lose their enthusiasm for lunchtime.
Though “School Meals Time Graduation” is a comedy about food, at its core, it explores our relationship with our surroundings. In the end, Amarida makes a sacrifice—saving mealtime at the cost of his desires. Through this, the audience comes to understand that while his obsession with food defines him, his connection to the people around him has also evolved.
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The food almost feels like a character in the film. Its presence—or absence—drives the story and conflict forward. “School Meals Time Graduation” isn’t just about food itself—it explores the culture and context of school mealtime. For many students, school lunch is their first experience eating without their parents. It’s not just about nourishment, but also about freedom, social bonding, and the simple joy of a delicious meal. The ritual surrounding mealtime is just as important. Before eating, students sing an anthem, followed by the traditional greeting “Itadakimasu” (いただきます), which can be interpreted as “Let’s eat” or “I humbly receive”. After finishing, they express gratitude for the food.
The film’s greatest strength lies in its comedic elements and it’s mostly due to the screenplay and the editing. The screenplay, written by Maya Ayabe and Yuji Nagamori, employs a voice-over technique, allowing us to hear the protagonist’s inner thoughts. When combined with exaggerated close-ups and rapid editing, many comedic scenes feel like comic panels brought to life.
Much of the situational comedy is elevated by Hayato Ichihara, who plays Teacher Amarida. His intonation, facial expressions, and gestures are perfectly timed, making even the smallest moments hilarious. While the script provides the humor, it’s the director’s orchestration of every element—cinematography, performance, and editing—that ensures it lands effectively.
For instance, a student cleverly combines two menu items into a tastier dish. Overcome with excitement, Amarida jumps across the room, mouth wide open, eager for a bite. Just as the student is about to feed him, he suddenly changes his mind. Instead of using extreme close-ups of their expressions, Shinya Ayabe and Maya Ayabe opt for a wider shot, allowing us to see the entire classroom freeze in awkward silence, making the situation even funnier without ridiculing the teacher.
Editor Yuichi Iwakiri expertly balances fast-paced comedic cuts with slower, more dramatic moments. In most of the film’s comedic scenes, he employs exaggerated, rapid-fire editing—short, quick cuts that enhance the punchlines and energy.
However, he knows when to slow things down. In the film’s more dramatic moments, especially during the third act, he allows for pauses and silence, creating tension. One key example is a scene where Amarida is running after someone—instead of cutting rapidly to heighten urgency, Iwakiri draws out the moment, keeping the audience on edge, wondering what will happen next.
This contrast in editing differentiates the comedic and dramatic beats, making the viewing experience more immersive and emotionally engaging. Combined with a solid screenplay and performance, “School Meals Time Graduation” is a witty comedy about food that’s surprisingly more profound than it seems.
