Cinetactic

By Heinrich Domingo

The diaspora experience is unique. It carries with it a voice that is often unheard and a perspective that is often misunderstood. For years, cinema has attempted to tell stories of identity, yet many of these are filtered through a singular cultural lens. Akashi stands as a reminder that these stories must be told by those who live them. In this film, Mayumi Yoshida offers a work that is both personal and deliberate. It proves that diasporic voices are not only different, but necessary in shaping the future of storytelling.

The film follows Kana, a Japanese Canadian artist who returns to Japan for her grandmother’s funeral. Through this homecoming, she is confronted not only with the past of her family but also with her own identity. As she uncovers the love story of her grandparents, she begins to reflect on her own relationship with Kira. The narrative stays within Kana’s perspective, allowing the audience to experience her journey of being neither fully here nor there. While the film presents different aspects of her life, it is ultimately driven by romance, both past and present.

The film excels in its visual presentation. The decision to shoot in black and white softens the overall imagery. It creates a calming effect that aligns with the film’s reflective tone. The cinematography is carefully crafted, using foreground, midground, and background to create layered scenes that carry multiple meanings. In several family scenes set within the small Japanese home, the placement of characters becomes crucial. Conversations overlap, movements are subtle, and emotions are conveyed through space rather than dialogue. These moments are beautifully choreographed, reminiscent of the works of Akira Kurosawa, Yasujirō Ozu, and Hirokazu Kore-eda. The film does not rely on spectacle. Instead, it allows its visuals to carry the weight of its narrative.

Another notable aspect of the film is Mayumi Yoshida’s decision to act as the main character while also serving as the writer and director. This is a technical and creative risk. However, it works. It is difficult to find an actor who can equally embody both the Japanese and Canadian experience. Yoshida resembles this perfectly.

The film is not without its limitations. The narrative takes time to find its footing in the first act. The build-up of the premise is slow. However, this is forgivable. Once the film finds its pacing, the story moves quickly and unravels multiple layers. Kana’s experience reflects the reality of diaspora identity. She speaks, eats, and dresses like a Japanese, yet she is treated differently by those around her. In every interaction, she remains an outsider.

There is still a long way to go for diasporic voices to establish their distinct place in Canadian cinema. Technical mastery and industry support remain ongoing challenges. Yet, Akashi begins this conversation. It shows that these perspectives carry depth and value.

This film is a proof that diasporic voices deserve their space in Canadian film industry as they introduce new perspectives and points of view. Hopefully, these new views will also translate to new styles of film and filmmaking. Much of Canadian cinema is just an extension of American or Hollywood style. Its strength lies in finding its own and unique voice. Akashi becomes an example of this.

Rating: 4.5/5