Ling (Zhujun Meng) is an immigrant living in Japan, far from her family and friends. Her closest bond is with Yuji (Hiroshi Tanaka), her partner, who is undergoing a gender transition. The couple is at a crossroads in life—Ling desires to have a child, while Yuji is focused on completing his transition. Their differing goals put their relationship at a critical juncture: Can they stay together despite their conflicting desires?
To Be a Woman is screening at Osaka Asian Film Festival
The film’s premise offers a compelling exploration of Ling’s inner struggle. On one hand, she yearns for motherhood; on the other, she supports Yuji’s need for self-realization. This tension forces the audience to confront larger questions about what defines womanhood and happiness—topics that resonate universally. While these themes aren’t new, “To Be a Woman” presents them in an intimate, personal context. Unlike well-known films like “The Danish Girl (2015)”, which centres on a broader historical narrative, this film focuses on the emotional complexities of Ling, the wife, torn between her aspirations and societal expectations. This relatable narrative draws the audience in, making them feel connected and engaged.
However, the film’s execution sometimes falters due to weak character and plot development. The narrative relies heavily on dialogue, which, though meant to convey deep emotions, often feels overwhelming and fails to establish an emotional connection with the audience. By vocalizing the characters’ innermost feelings and conflicts too explicitly, the movie loses the organic flow necessary for engaging storytelling. As a visual and auditory medium, cinema offers myriad ways to show rather than tell, yet the film’s overuse of dialogue detracts from the emotional weight of the scenes.
Yo Enen repeatedly uses the allegory of The Little Mermaid, a familiar story of self-sacrifice and unrequited love. However, this reference doesn’t quite land as intended. While the mermaid’s tragic end—a loss of love and freedom—mirrors Ling’s struggles, the repeated use of this allegory feels forced and muddled. It creates confusion instead of enriching the characters and narrative, leaving the audience unsure of its relevance and how it can foreshadow the happy ending.
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In mainstream cinema, strong narrative structure and cohesive performances are crucial to connecting with the audience. Zhujun Meng’s portrayal of Ling is one of the film’s strengths. She subtly conveys Ling’s frustrations, hopes, and inner turmoil, using delicate expressions and composed movements to capture her emotional journey. However, Yuji’s performance falls short. Hiroshi Tanaka’s portrayal of Yuji is rigid and lacks the emotional depth required for such a sensitive subject. His attempts at emotional expression, marked by rapid movements and exaggerated gestures, feel out of place in a film that thrives on quiet, introspective moments. This dissonance undermines the emotional impact of the story.
Though minimalist, the film’s cinematography complements its intimate tone. Many scenes feature conversation shots in long takes or single frames, allowing the audience to absorb the narrative. Yet, the lack of close-ups and the bare composition of many scenes detract from the viewer’s connection with the characters. It isn’t until the end that the camera finally closes in on them, offering a moment of emotional connection. This intimate tone makes the audience feel involved and connected.
Despite its slow pace and dialogue-heavy approach, “To Be a Woman” offers a personal and reflective journey into Ling’s emotional world. The film’s focus on a small set of characters allows for a more intimate connection, and Ling’s evolving appearance and behaviour subtly hint at her inner transformation. This sense of involvement makes the film compelling, even if its execution doesn’t fully realize its potential.
