Narrative Overview and Thematic Core
The narrative of Renoir centers on Fuki, portrayed by newcomer Yui Suzuki, an eleven-year-old girl navigating the complexities of pre-adolescence during the terminal illness of her father. The story is situated in 1987, a pivotal year in Japanese history marking the early stages of the "bubble economy." This era was characterized by unprecedented financial and real-estate speculation, which radically transformed Japan’s landscape following its post-World War II "miraculous" recovery.
Hayakawa utilizes this period of national optimism to contrast with Fuki’s internal darkening perspective. As her father’s health declines, Fuki becomes increasingly aware of the macabre and the consequences of her own actions. A central motif in the film is Fuki’s fixation on a reproduction of Pierre-Auguste Renoir’s 1880 oil portrait, Portrait of Irène Cahen d’Anvers (often referred to as Little Irene). This encounter with Western art serves as a catalyst for Fuki’s self-actualization, helping her navigate her own aesthetic tastes and her place in a rapidly changing world.
Unlike Plan 75, which presented a stark, dystopian vision of a government-sanctioned euthanasia program for the elderly, Renoir adopts a more mysterious and intimate register. The film avoids traditional sentimental tropes, instead exploring the "psychic landscape of late childhood" and the difficult process of reconciling personal suffering with the experiences of others.
Historical Context: The Japanese Bubble Economy of the 1980s
To understand the stakes of Renoir, it is essential to consider the historical environment of 1987. This was a time when the Nikkei 225 stock average was beginning its meteoric rise, and the "Showa" era was nearing its end. Japan had emerged as a global economic superpower, and there was a widespread belief among the populace that the future would be perpetually brighter.
Director Hayakawa notes that this period was defined by a profound admiration for Western culture. The presence of European art reproductions in modest Japanese homes, as depicted in the film, was a common phenomenon. This "innocent" aspiration toward the West reflected a nation eager to establish its status among the "First World" nations. The film captures the era’s unique technological and social artifacts, such as VHS tapes, psychic-themed television programming, and early telephone chat services, which served as precursors to modern social media.
However, Hayakawa’s portrayal of the 1980s is not merely nostalgic. She highlights the isolation inherent in that era—a time when the world felt "far away" and people shared a collective, often unquestioning, belief in media narratives. By setting the film in 1987, Hayakawa provides a lens through which to view the subsequent "Lost Decades" of economic stagnation that would eventually lead to the social anxieties explored in her previous work.
Casting and the Performance of Yui Suzuki
Central to the film’s success is the performance of Yui Suzuki. Hayakawa has stated that Suzuki was the first candidate to audition for the role of Fuki, immediately capturing the director’s attention by deviating from expected character interpretations. Suzuki’s ability to balance a "childlike essence" with a "mature" presence allowed the film to maintain its focus on a child’s perspective without descending into caricature.
One notable element of Suzuki’s performance—a horse imitation—was an unscripted skill she demonstrated during her audition. Hayakawa was so impressed by the authenticity and lack of hesitation in Suzuki’s delivery that she integrated the imitation into the final script. This spontaneity is a hallmark of the film’s production style, which sought to capture the raw emotional transitions of its young protagonist.
Subplots and Social Commentary on Corporate Culture
Renoir also delves into the lives of the adults surrounding Fuki, particularly her mother. A significant subplot involves the mother being required by her employer to attend an anger-management course—a concept that was emerging in Japan at the time as a Western import. This narrative thread serves to illustrate the humiliation and loneliness of the adult characters.
Hayakawa’s decision to include this subplot was rooted in her own childhood observations of her mother’s struggles with emotional regulation. By depicting the mother not as a "bad person" but as an isolated individual under immense pressure, the film explores the "loneliness of expressing anger." This reflects a broader commentary on the Japanese corporate environment of the late 80s, where traditional social structures were beginning to clash with new, imported management styles and the stresses of the economic boom.
Comparative Analysis: From Plan 75 to Renoir
Renoir and Plan 75 form what many critics are calling a "fascinating diptych" on the nature of grief and social value. While Plan 75 dealt with the "productivity" of the elderly and the cold logic of a society facing a population crisis, Renoir looks backward to the origins of that society’s mindset.
Japan’s demographic reality is a constant backdrop to Hayakawa’s work. Current estimates suggest that by 2050, one-third of the Japanese population will be over the age of 65. In Plan 75, this was addressed through a speculative lens that many Japanese viewers found "scarier than a horror movie" due to its perceived plausibility. Renoir, conversely, examines the roots of the optimism that preceded this decline. Hayakawa describes herself as an "optimistic pessimist," a stance that informs both films’ refusal to provide "pat catharses" or easy answers to complex emotional and social problems.
International Production and Cinematography
In a departure from the traditional Japanese film industry model—where an estimated 90% of films are adaptations of existing intellectual property such as manga or light novels—Renoir is an original script developed as an international co-production. Hayakawa has noted that the lack of domestic funding for original debut scripts in Japan often necessitates seeking support from European grants and film festival development programs.
The film marks Hayakawa’s second collaboration with cinematographer Hideho Urata. Urata, who is based in Singapore, brought a distinct visual sensibility to the project. Due to COVID-19 travel restrictions during the production of Plan 75, Urata and Hayakawa developed a shorthand that carried over into Renoir. Their process is described as "improvisational," with a focus on shot composition and a sensitivity to the emotional weight of each scene rather than rigid pre-visualization.
In Plan 75, the use of handheld cameras for specific characters (such as the Filipino care worker) denoted vitality. In Renoir, the visual language is more "sober," balancing the "wistful summer vibe" of the 1980s with the creeping onset of grief. The film’s aesthetic avoids the "romantic" in favor of a realistic, sometimes stark, depiction of childhood isolation.
Broader Implications for Japanese Cinema
The release of Renoir highlights a growing trend of Japanese filmmakers operating outside the traditional studio system. By utilizing international co-productions, directors like Hayakawa are able to explore narratives that are considered "risky" by domestic investors who prefer the safety of established IP.
Hayakawa’s work also reflects a shift in how Japanese cinema addresses the country’s history. Rather than focusing on the immediate post-war era or the samurai past, Renoir examines the more recent history of the "bubble period"—a time that many current decision-makers in Japan remember vividly. The film suggests that the "feeling of helplessness" and the "sense of giving up" observed in contemporary Japanese society have their roots in the very optimism and Western-focused aspirations of the 1980s.
Conclusion: A Study in Solitary Grief
Ultimately, Renoir is a study of grief as a solitary experience. Hayakawa draws from her own memories of her father’s passing to depict the "layered, strange" atmosphere of a family in mourning. The film captures the guilt and shame that can accompany childhood curiosity during times of tragedy, as well as the performative nature of social rituals like funerals.
By refusing to offer a traditional coming-of-age narrative, Renoir presents a more honest depiction of how a child’s worldview is reshaped by loss. As the film expands to theaters across the United States, it offers international audiences a nuanced look at a specific moment in Japanese history, while exploring universal themes of empathy, isolation, and the enduring power of art to provide a "clue" into one’s own identity. Hayakawa’s "optimistic pessimism" ensures that while the film is grounded in the reality of decline, it remains a work of profound compassion.
