A glimpse into a near-future Tokyo: ‘Happyend’ and the resilience of youth
In the realm of cinema, few directors manage to capture the essence of a dystopian future with the subtlety and poignancy that Neo Sora achieves in his debut fiction feature, Happyend. This film doesn’t rely on grandiose apocalyptic events to convey its chilling vision. Instead, it presents a near-future Tokyo that feels eerily close to our present, where the end of the world seems to loom just around the corner. Yet, amid this impending doom, the teenage protagonists navigate their coming-of-age journey, adding a layer of bittersweet poignancy to their experiences.
A prank with profound consequences
In this slightly altered Tokyo, the high-rise skylines and concrete curves have a denatured air, perhaps due to the film’s primary shooting location in Kobe. The story kicks off with a high-school principal discovering his beloved sports car set on its rear bumper, standing like a splashy yellow monolith in the school courtyard. This juvenile prank, captured in one of DP Bill Kerstein’s graceful tracking shots, is swiftly labeled an act of ”terrorism,” leading to the installation of a draconian surveillance system.
The entire student body faces punishment for the actions of a few, with suspicion falling on a group of rowdy final-year teens. The ringleaders, Kou (Yukito Hidaki) and Yuta (Hayao Kurihara), have been best friends since childhood. Along with their friends Tomu (Arazi), Ming (Shina Peng), and Ata-chan (Yuta Hayashi), they form a tight-knit crew that shares a love for underground music. The school’s music room, filled with equipment, becomes their sanctuary and base of operations.
The power of music and individuality
As the son of the late Ryuichi Sakamoto, Neo Sora imbues Happyend with a fervent belief in music as the ultimate expression of individuality. This belief is evident when Kou and Yuta gatecrash a techno club, only for the place to be raided by the police. In the ensuing chaos, the DJ they idolize slips them a thumb drive containing the rest of his set, entrusting them with the duty of keeping the beat of youth-culture resistance alive.
However, this mission doesn’t captivate Yuta, the privileged rebel-without-a-cause. Under the ebbs and swells of Lia Ouyang Rusli’s superb score, Sora narrows the focus onto the bond between Yuta and the more thoughtful Kou. Coming from a family of undocumented immigrant Koreans, Kou has more to lose from any run-ins with the authorities than his cosseted best friend. Their differing social statuses and Kou’s crush on Fumi (Inori Kilala), a quiet, studious girl involved in political activism, begin to drive a wedge between them.
A world that mirrors our own
Sora’s screenplay sketches a world that closely resembles ours, with a few tightened screws. Cellphones are ubiquitous but used as tracking devices, and faces are as identifiable as fingerprints. Once snapped by a passing cop, all your details appear at the tap of a touchscreen. Despite this techno-paranoid atmosphere, Sora notes the irony that the very technology used to suppress youthful exuberance is better understood by the youth than by their aging oppressors. The underage will always find a back door to sneak through, no matter the bouncers.
This underlying faith in the resilience of youth, coupled with a sweet, simple sadness for the people we lose on our journey to becoming who we are, lends a certain naiveté to Happyend. But perhaps naiveté is precisely what we need, considering the sophistication that has led us to our current predicaments.
Personal reflections and deeper insights
As a cinema enthusiast, Happyend resonates deeply with me. The film’s portrayal of a near-future Tokyo, where the end of the world feels imminent yet not quite here, mirrors the anxieties of our present times. The teenage protagonists’ journey, set against this backdrop, adds a layer of poignancy that is both heart-wrenching and hopeful.
For TV series fans, the dynamics between Kou and Yuta might remind you of the complex relationships seen in shows like Stranger Things or Euphoria. The bond between the characters, their shared love for music, and their differing paths offer a rich tapestry of emotions and conflicts that are both relatable and compelling.
Music lovers will appreciate the film’s emphasis on the power of music as a form of resistance and individuality. The scenes in the techno club, the underground music room, and the thumb drive exchange are powerful reminders of how music can unite and inspire, even in the face of oppression.
For more information and to watch the trailer, visit Happyend.
In a world that often feels like it’s teetering on the edge, Happyend offers a glimpse into a future that is both chilling and hopeful. It reminds us that even amid impending doom, the resilience and creativity of youth can shine through, offering a beacon of hope in the darkest of times.