One of the most popular stars of Japan today, Tadanobu Asano stars in one of his earlier films along side Koichi Hashizume and Chara as mental patients who go agree to go on an escapade after they convince themselves that the end of the world is coming. Directed by Shunji Iwai who is perhaps one of Japans best directors today, and written by him (as almost all his films are), Picnic is a sublime short film that squeezes endearing characters, thoughtful dialogue, and beautful chemistry in to a short one hour that you wish would last that little bit longer.

I am a fan of short films, and have a fair collection on tape. It’s fair to say that most that are screened on television are those of English dialogue, therefore I was surprised and delighted to get my hands on not only a short film, but a short film from Japan. Filmed with almost dream-like cinematography later on, the contrast at the beginning is quite stark with it’s dark clouds, bleak buildings and domineering, malicious staff. Although the main characters are the committed ones, their treatment is such that you feel for them, rather than those doing the caring, who should perhaps be locked up instead.

The performances by everyone in the film are outstanding, and very different from one another, the contrasts complement the characters as they develop through the hour better than most films manage in 90 minutes or two hours. It puts many other pictures to shame, providing an engrossing story and wonderful, playful characters. The handling of the trauma and reasons for their committal are thoughtfully managed, never over-bearing, and enver filled with sympathetic slosh. You don’t understand their need for the crimes they’ve committed, as they are obviously lacking the basic understand of right from wrong. At the same time, the behaviour that they encounter on the outside world is equally odd and could certainly be regarded as mental.

Filmed with almost dream-like cinematography later on, the contrast at the beginning is quite stark

There is a strange ten minute scene where Tsumuji (Asano) has an imaginary conversation with a bloated, puppet – it seems to veer on the possibility of the guilt of killing someone who treated him through sexual abuse, although it’s never made quite clear. It may just be madness, but there are some quite disturbing scenes that really send a shiver down your spine as to what the truth might be.

The performances by everyone in the film are outstanding, and very different from one another, the contrasts complement the characters

At the same time, his friend Satoru(Koichi) spends an equal amount of time masturbating vigorously – there’s nothing horrific or suggestive about the scene, as he just met a girl he likes in Coco (Chara). The fact that Iwai mixes the two different situations together is very, very clever – asking the viewer to laugh at Satoru’s comical efforts, but at the same time feel empathy for Tsumuji’s distrubed state of mind. The hallucination, it turns out is a metaphor for his guilt, with all of it simply serving as a context for the crime he committed, rather than some trip down exploitive and shokcing scenes. There is a purpose, sensationalism.

Picnic is a very tragic film; you really become attached to the characters who all act out their parts brilliantly, and offer . The priest I felt was hilarious, in his trying to understand where the kids have come from, and who they might be. The scenes are touching, moving and shocking rarely letting the viewer become comfortable as there always seems to be something going on.

Shunji Iwai may be Japan’s best example of a modern day director that offers beautiful film making, without sacrificing substance or story, and is certainly an example I would like to see followed by other directors – where violence and tragedy are not used for sheer entertainment value, but to truly have a reason for its existence.

I don’t think there has really been a director who’s been able to tell a story this well since, perhaps, Akira Kurosawa. Whereas Kurosawa dealt with morality and society mostly in Japan’s fuedal age, Iwai does so in something more relative, more meaningful and more connected with the modern age, and how we are now.

Verdict: Great cast, entertaining performances, and a mesmerising one hour short from one of Japan’s finest directors.