Kakera - A Review.

Director: Momoko Ando
AKA: A Piece Of Our Life.
Language: Japanese.
Release Year: 2009.
Rating: * * * *


Kakera is a rather unusual yet, a lovely gay movie. It has its heart in the right place, and it’s the unconventional characters' shades and their inclinations that make it unique in the overflowing stream of other such ventures in the genre.

Haru (Hikari Mitsushima), a college student, is a rather eccentric personality, but a very gullible one at that. She is involved in a loveless and a moribund relationship with a guy. The two-timing loser reaches out to Haru only when in need of sexual gratification. Haru, aware of her boyfriend’s fallings and the disgusting viewpoint he has about their relationship, clings on to the only excuse for intimacy she has in her life, hoping he’d dump the other lady and perhaps, something fruitful will blossom for her eventually. One day, at a café, she runs into Riko (Eriko Nakamura), who exhibits diagonally opposite attributes, bubbling with energy, and determined to seize those fleeting moments that other people let pass; a la Carpe diem. Riko comes across very strongly, not wasting even a breath in introducing herself and handing out her number to Haru, and asking her to call her whenever she feels the need to. It’s no secret and neither does she try to feign her interest in the female kind. She believes that men are very lucky to be able to experience the tender skin and the aroma that a woman’s body possesses. She opines that just because she’s a woman, doesn’t mean she has to miss out on that naturally sensual gift.

Working as a prosthetist, Riko believes in filling the physical void people are left with. Making her own rules, and bending the stifling societal norms, she doesn’t try to smother her physical and emotional urges, at the expense of being derided. Haru and Riko start off solemnly, with Haru being more of a dumbfounded spectator, completely in awe of Riko’s propensities and character. Riko, doesn’t take much time in making inroads, and introduce Haru to the undermined and lambasted aspect of female sexuality. The truth is that Haru’s always harbored a curious side to the female flesh. A medical condition in the past, which required getting shots on her derriere, had made her lower body completely numb for a while. Haru would touch her backside to feel the presence of any sensation, and that’s when she realized how soft a female body could be and how incredibly fortunate men were to treat themselves to such an amazing creation.

Indecisive at first, Haru embraces the idea of being able to love and touch something as gentle and satiating as a female body. The fact that her boyfriend keeps coming back to her just to get his rocks off, and continues to cheat on her, only adds to Haru’s determination to cross over to the other side. Both Riko and Haru dive in with both feet and begin their unconventional romance. Riko plays the dominating role in the relationship, always by Haru’s side, keeping her away from any hurt. She starts to become very possessive, showing up uninvited at Haru’s soiree with her college friends. Nothing deters Riko from proclaiming her love for Haru out in the open. She even confronts Haru’s sleazy boyfriend, breaking the news about their awry sexual tendencies, and bids him farewell with a blow to his balls. However, Haru’s uncertainty and unwillingness in recognizing the gay side of her, and the suffocating presence of Riko, starts to put Haru off, and she starts finding excuses to stay busy and away from Riko. Riko is quick to catch the whiff of Haru’s reluctance, and distances herself from her, letting her have some breathing space. She hopes that Haru would, in the end, come back to her after she starts to appreciate that it’s with her that she can find true love and intimacy, without being objectified. The finale could turn out to be a letdown for straight-minded, orthodox viewers, but for those who are willing to think outside the box, it’ll play out like a gem being studded on the whole affair of homophile love.

Both the female leads were absolutely phenomenal in their performances. Hikari Mitsushima as the soft-spoken, credulous, tomboy Haru, decked in t-shirts and baggy pants, couldn’t be cuter than an amoral baby. With the expression of a lost soul, on the lookout for a genuine fellowship and some love in return, she exudes charm and you can’t help but let it rub on to you. Her latter turn as a resisting and a confused woman, teetering on the edges of two boats at the same time, demonstrates her ability to pull off such twisted portrayals. However, Eriko Nakamura's in a league of her own. As the rebel Riko, constantly brimming with excitement, and living every moment of her life the way she desires, is an extraordinary treat waiting to be savored. Her lopsided yet, rational viewpoint on sexuality, love and “emotions” that drive men into loving another woman, is not something most would be comfortable with, but that doesn’t make it any less true. Seeing the hapless turn her character takes when met with opposition and heartache from Haru, a human’s heart would just go out to her, and empathise with her.

Being a debutant herself, the director remains true to the tone of the movie throughout. She stays clear of preaching and never veers into the hackneyed domain of portraying the plight of exploited women with the nauseating dose of platitudes. She presents it using her own sensibility, compounding it with that of the characters’ and comes up with a refreshing and a radical presentation. Being a low-budget, and an ad-hominem presentation, other technical aspects were utilized in the needed degree, without overdoing it. The music was subtle and stilly composed, the cinematography brought out the beauty amid the juxtaposition of urban cacophony and the loneliness in that noise.

A couple of scenes tantalized, with a temperate touch, tugging at your heart for its sheer audacity and starkness. One such scene is when Haru’s prodding Riko’s bum. It might sound lewd and downright pornographic to a conservative mind, but with someone without an encumbered mind, the scene will put a smile on your face for its childlike innocence and the overflowing intimacy without having two bodies sweat it out against each other. If this scene doesn’t make your heart go “awwww”, then just don’t watch the movie; it’s not your cup of tea. But for those who are willing to explore Haru and Riko’s nonconforming love and their daring journey, this Japanese serving wouldn’t disappoint you on any front, period.