‘Love Life’ Review: Kōji Fukada’s Film Is An Uneven Melodrama On Grief And Intimacy [Venice]

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Guy Lodge Film Critic Even the most solidly founded of marriages can be strained and shattered by the death of a child. For handsome, wholesome Japanese couple Taeko and Jiro, however, that tragedy shows up all the fault lines that were already in their young relationship, and that’s before living ghosts of the past show up for both partners. Koji Fukada’s “Love Life” unabashedly embraces melodramatic contrivance in its examination of modern middle-class love tested as much by social prejudices as by personal demons; it just does so with such pallid, polite reserve that its sentimentality never becomes transcendently moving. As such, this agreeable but overlong pic finds the Japanese writer-director still struggling to regain the form of his jolting 2016 Cannes prizewinner “Harmonium.”

Grief and guilt are the twin quiet rivers running beneath Koji Fukada’s ambiguously titled Venice competition entry Love Life, a delicately tangled story of generational conflict and the silences that, without being overtly aggressive, can drive people apart. Anyone familiar with the work of Japan’s greatest cinema maestro, Yasuhiro Ozu, will recognize the general territory. It is a space within which tectonic social shifts are disguised under layers of traditional social observance, often involving large meals, and where profound emotions may be — and often must be — contained within a glance.

Julianne Moore sparkles her way down the red carpet for her latest appearance at the 2022 Venice Film Festival.

Elsa Keslassy International Correspondent MK2 Films has scored key territory deals on Japanese director Koji Fukada’s “Love Life,” which makes its world premiere in competition at the Venice Film Festival. Set in contemporary Japan, “Love Life” is a character-driven film revolving around Taeko and her husband, Jiro, who are living a peaceful existence with her young son, Keita. When a tragic accident brings the boy’s long-lost father, Park, back into her life, Taeko throws herself into helping this deaf and homeless man to cope with the pain and guilt. Popular Japanese actress Fumino Kimura (“The Fable: The Killer Who Doesn’t Kill”) headlines the film. MK2 Films has now sold the movie to Teodora (Italy), Imagine (Benelux), Leopardo (Portugal), Demiurg (Ex Yugoslavia), New Cinema (Israel), Swallow Wings (Taiwan), Edko (Hong Kong), Impact Films (India) and Encore Inflight (Airlines).

Patrick Frater Asia Bureau Chief The titles of Fukada Koji’s films almost drip with bitter irony. “Sayonara” seemed to be a farewell to human actors. Instead of being harmonious, Cannes Un Certain Regard jury prize-winner “Harmonium” was pitch black and steeped in quiet violence. Fukada’s latest, Venice Film Festival competition title carries the moniker “Love Life.” But its subject matter is loneliness. The story starts out on familiar lines, involving a married couple where suddenly the ex-husband of the wife appears, potentially setting up the melodrama of a triangular relationship. But in Fukada’s hands things are colder and more painful. The newcomer is burdensome, deaf and homeless. His arrival triggers, not love, but fragmentation, individualism and loneliness.