Wandâfuru raifu (1998)

Director:

Hirokazu Koreeda

Writer:

Hirokazu Koreeda (writer)

Release Date:

17 April 1999 (Japan)

Genre:

Drama

Tagline:

What is the one memory you would take with you?

Plot:

After people die, they spend a week with counselors, also dead, who help them pick one memory, the only memory they can take to eternity...

Plot Keywords:

Film Making | Interview | Memory | Videotape | Afterlife

Awards:

7 wins & 6 nominations

Cast

Arata	...	Takashi Mochizuki, counsellor
Erika Oda	...	Shiori Satonaka, trainee counsellor
Susumu Terajima	...	Satoru Kawashima, counsellor
Takashi Naitô	...	Takuro Sugie, counsellor
Kyôko Kagawa	...	Kyoko Watanabe, Ichiro's Wife
Kei Tani	...	Kennosuke Nakamura, boss
Taketoshi Naitô	...	Ichiro Watanabe, who cannot choose his favourite experience
Toru Yuri	...	Gisuke Shoda, who talks about sex
Yusuke Iseya	...	Yusuke Iseya, who refuses to choose his experience
Sayaka Yoshino	...	Kana Yoshino, talks about Disneyland
Kazuko Shirakawa	...	Nobuko Amano, who talks about her affair with a married man
Kotaro Shiga	...	Kenji Yamamoto, who wants to forget his past
Hisako Hara	...	Kiyo Nishimura, old lady who loves cherry blossoms
Sadao Abe	...	Ichiro (as young man)
Natsuo Ishido	...	Kyoko Watanabe as a young woman

Also Known As:

After Life (Canada: English title) (USA)
Afterlife (UK)
Wonderful Life (literal title)

Runtime:

Brazil:118 min | Argentina:118 min

Country:

Japan

Language:

Japanese

Color:

Color

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono

Certification:

South Korea:All | Hong Kong:I | Taiwan:GP | Argentina:13 | Chile:14 | Denmark:15 | France:U | Germany:o.Al. | Peru:14 | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | UK:PG

Company:

Engine Film

Movie Connections:

Referenced in Waking Life (2001)

Wandafuru movie!

I really loved Kore-eda's first feature "Maboroshi No Hikari", so I had been looking forward very much to seeing "Afterlife" (named "Wandafuru raifu" in Japanese, after Frank Capra's movie "It's a wonderful Life") during its run in London.

At first I noticed that the film is formally very different from its predecessor; while "Maboroshi No Hikari" owes much to the influence of Ozu, and especially Hou Hsiao-hsien, "Afterlife" draws more on the directors background as a documentary filmmaker. What the two films share, however, is the theme of memory (Note: also a theme with Hirokazu Kore-eda's documentary work - check out "Without Memory", about a man suffering of severe amnesia). In "Maboroshi No Hikari" Yumiko is not able to forget the memory of her dead husband, whereas in "Afterlife" the recently deceased must chose one memory that will accompany them into eternity.

I feel that Kore-eda handles this entirely hypothetical premise in the best possible way, by steering completely clear of the stylistic superficialities with which so many other films about life after death desperately try to make themselves believable. The unspectacular old school building as a setting, the ceiling window with its interchangeable templates for the different stages of the moon, a character who himself has doubts as to whether this is really the best way of going to the next world and the absence of any religious connotations, among other things, all serve to keep the focus on the characters and their memories - many of whom are actually real. Apart from tongue in cheek humour, the lack of music also prevents over-sentimentalization and makes the memories the people recall the more sincere. The no-budget filming of the recollections of the deceased in order to trigger their personal memory, toward the end of the movie, also illustrates that the director is fully aware of his own limitations and possibilities as a film-maker. Rather than just trying to create the illusion of some half-baked version of the hereafter, he wants to challenge the viewer to reflect on what would be his/her most important memory - and succeeds in every way.

This is a movie that surly can be appreciated by anyone who possesses at least a tiniest inkling of openness and willingness to experience cinema as more than mere entertainment. Top mark for this one!