As Tatsuya, still in the process of coming to terms with his loss, continues to work with the yakuza that assisted him in the past. His parents have forced him towards regrettable means for sustenance which is why he manages to cross paths with Ryo, an ex-classmate and ex-con turned sex worker Tatsuya is low on options and constantly tries to be appreciative of them, just like Tatsuya tries to fulfill the void in their repressed lives. Set against the backdrop of moral decay, an atomic bomb for humanity, the trio are embroiled in a depressing mess of corruption and violence while still holding on to their emotions.
As Tatsuya struggles with his meager existence in a dirty mess, he is met with the hatred of his parents which makes matters worse. Violence becomes the only means through which Tatsuya is able to distance himself from the comment his boss asks him to act upon, with angst Ryo lashes out which ends up resulting in desensitization. The characters are intriguingly layered, a decomposition of sadness and sorrow culminating together in a state of panic. Sanada’s attempt to tame the emotion and tackle a forbidden romantic basis in a pragmatic way is executed well with the slight reveal of drama: Pain, death and trauma masquerading as a love filled story.
There’s a price that has to be paid with the authenticity and the pacing that has been shown in the documentary which was released alongside the film titled “Firing the Lighter Gun”, during its staging, the use of music was quite dull and the picture quality did not stand out. The film instead of being an artwork, offers a rather bold perspective through careful attention placed to the dialogues. It won’t be wrong to say that Kohei Sanada uses his sharp tongue with an intent To cut across his characters. The focus is not the nuclear disaster that happened, it’s the breakdown of the system which leads to dire consequences.
Japan is relatively known for being more subdued to political accusations, it does take courage to amalgamate the disaster of a nuclear plant with issues of corruption, and this is where “Firing the Lighter Gun” stands out. Embracing honesty and clutching towards social and political issues while not being shy of harsh criticism, this is the approach it takes. As for Tatsuya, her mother’s sickness, and Ryo’s unresolved murder, and Mari’s past love life they all together solve the enigma that surrounds the nuclear disaster.
The director Kohei Sanada, who graduated from the Graduate School of Film and Media of the Tokyo University of the Arts, is slowly stepping into the limelight along with his other talents. His film “Icarus and the Son” (2015) clinched the Special Jury Prize of the Yubari International Fantastic Film Festival, and he continues to produce, write and edit all the works by himself. In the upcoming movie, I wish for an aesthetic push forward. There are some very promising indicators in the usage of music and framing in “Firing the Lighter Gun”, that could add an entire different layer to the story. Put together with the outspoken straights of his scriptwriting, Sanada could do a great service on many heated issues inside Japan.
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