By Noel Vera

SERIES REVIEW

Japan Sinks
Directed by Masaaki Yuasa and Ho Pyeon-gang
Netflix

ONCE AGAIN Masaaki Yuasa put out an anime series (Japan Sinks, 2020, available on Netflix — actually his second after the delightful Keep Your Hands Off Eizouken!) and once again he flouts expectations, of both his fans and fans of disaster movies. This time though Yuasa may have fashioned not just a quietly subversive disaster epic but the fiction story summing up our feelings in this disaster of a year, 2020.

Where the source novel (by Sakyo Komatsu) focused on government efforts to cope with the cataclysm, Yuasa (with co-director Ho Pyeon-gang and writer Toshio Yoshitaka adapting) focuses on the common folk struggling to stay alive. Where the novel had mostly Japanese characters, the series takes extra effort to present a more diversified cast: wife and mother Mari Muto is from Cebu, Philippines; popular YouTube celebrity KITE is from Estonia; hitchhiker and amateur magician Daniel is from Kosovo; submarine pilot turned research scientist Onodera — who predicted Japan’s downfall — is a paraplegic (a source of unspoken embarrassment in everyday Japanese society). A sinister religious cult is introduced, its subplot springing a few surprises (and not a little controversy among viewers); the actual disaster setpieces (the various earthquakes, Mt. Fuji erupting, Japan’s promised submersion) look and feel, well, different from the usual onscreen depiction.

When the first quake strikes, Yuasa cuts to four locations: a girl’s locker room (where middle schooler Ayumu Muto is dressing after track practice); an Olympic stadium (where father Koichiro is installing a jumbotron screen); the Muto home where youngest son Go is waiting; and an inflight jet holding Mari, who is coming back to Japan. The locker, stadium, and home sequences are handled impressionistically; mainly brief shots strung together (perhaps the most effective being Ayumu and her classmates flung against a rushing gray background, to land every which way they can). Mari’s plane crashes against a river, resting its nose against a bridge but the actual crash is skipped over — and you realize that perhaps Yuasa didn’t have the budget to visualize the series properly, hence, the elliptical if not downright frugal approach. He may have decided to pour money instead in unexpected directions: a garden lit at night in spectacular purple, blue, and green, as a signal to draw people together; a panning shot of the Shiba-koen district, dim concrete towers lit from below by what looks like a vast bed of coals (glide past the famed Tokyo Tower, upper half hanging to one side); a quietly spectacular overhead shot of a Tokyo suburb some 10 to 20 feet submerged, the water so clear you can still see the streets, the tops of trees and buildings poking out of the gently lapping waves. The family is happily reunited — with next-door neighbor Nanami having found Go and bandaged his eyes, and track-star-turned recluse Haruo coming along — but Yuasa has one more shock in store: bodies dropping from the sky, and a helicopter spinning out of control to end its trajectory in a nearby fireball. His apparent message: don’t expect the usual disaster movie, with tropes and conventions providing comfort in the midst of the chaos — Yuasa has neither the budget nor inclination. Anything can happen to anyone anytime, and probably will.

That’s what initial audiences apparently reacted against: the series flouts conventions too much, is apparently unmoored and ridiculous in its narrative and tone. Plot coincidences abound, characters survive by the most unlikely of means, and deaths are often passed over if not downright ignored. Yuasa addresses the latter early on (skip the rest of this paragraph if you haven’t seen the series and intend to!): Koichiro is the best qualified and most natural leader of the group, an outdoorsman who knows where to find potable water and yams and even how to field-dress a wild boar (which he dispatches himself) — and what does Yuasa do? Take the man away, literally, with a bang and a cloud of smoke. Nanami has a mini-arc where she develops an attraction to Haruo, has to fend off an attempted sexual assault by a truck driver, then dies, just like that. Ayumu — the series’ ostensible protagonist — is horrified by these deaths, partly because they’re so sudden, partly because she feels she had somehow caused them (Koichiro because she wanted yams and he had died looking for some, Nanami because Ayumu also had a crush on Haruo, and was mildly jealous). Crassly manipulative? Maybe, but remember the story is being told through Ayumu’s eyes, at least in these passages, and she can’t help but see the world in terms of how it affects her and she affects it.

As for several characters’ passing, Mari’s reaction seems particularly noteworthy: she stoically shrugs them off, especially the first one. Ayumi reflects our feelings and says as much to Mari: how can the woman just ignore death like that? But Mari’s reflects one way people cope, rightly or wrongly: by focusing on the business of survival. Mari feels the trauma and Aymumu’s hurtful angry words, and internalizes it — a recognizably human response, just not the kind we’re used to seeing in movies or on TV.

Then there’s the cult (Again, skip the rest of this paragraph if you haven’t seen the series and intend to!), which admittedly comes at a low point in the series, animation wise — looks like Yuasa was scraping financial bottom when he worked on these episodes. We’re waiting to learn that the cult is either fake or somehow evil, and neither expectation is fulfilled: the cult does have what seems like a genuine medium, or at least an actual telepath, and its intentions turn out to be sincerely benign — the Mutos aren’t asked to convert, and they enjoy a few days’ rest, not to mention a hot shower. The rest stop does function as a turning point for several of the characters: Mari conducts a sneakily flirtatious relationship with the sad sack Daniel and ultimately allows herself to mourn Koichiro, Ayumu and Mari finally reconcile, and an old man named Kunio — an unapologetic racist — eventually relents in his racism. 

Mind you I’m not saying Yuasa and his writer Yoshitaka do flawless plotting (Komatsu I absolve because very little of his original story was used, aside from the premise). If the story feels like it pinballs all over the place, I’d say that reflects the relentlessly random nature of a disaster and its aftermath; if we’re upset that the plot seems to shortchange some characters, I’d say that’s thanks to the care put into their development by the makers, our indignation a tribute to the emotional investment we in turn have put into them. 

The last few episodes are devoted to KITE and his attempt at data gathering, the resolution to this particular plotline giving rise to a flaw no one seems to have noticed (Again skip the paragraph if you haven’t seen and intend to!): KITE implies the possibility of saving Japan but no one points out KITE’s failure — that he did little to prevent the sinking and even less to do with its partial return. I submit that in a way KITE didn’t fail: he (with Onodera’s help) salvaged data predicting the return of portions of Japan, and that data helped convince the rest of the world to continue recognizing Japan’s sovereignty. KITE in effect helped preserve the idea of Japan, not just among its remaining citizens (the Muto family in particular) but among the international community.

Which leads us to one of the strongest criticisms leveled against the series: that it, like its source novel, is a jingoistic piece of nationalistic propaganda, meant to promote the 2020 Tokyo Olympics. I’d argue that: 1.) Yuasa kept very little of the original novel, and, 2.) the series if anything is an argument against nationalism. When Japanese athletes do march in the 2020 opening ceremonies (an event that, right off, marks this series as taking place in an alternate universe) it’s as citizens of a country whose land has vanished. These athletes, like KITE, believe in the idea of Japan, of a people with marked flaws (provincialism; suspicion of outsiders or those who seem different) and even more marked virtues (the ability to work hard and when challenged, work harder; the ability to get along with others under the worst circumstances; the ability to sacrifice oneself for the common good). The athletes wave these flaws and virtues higher than any mere flag, and invite all and sundry (including paraplegics and those of mixed racial blood) to imitate, possibly integrate, perhaps declare themselves in turn honorary Japanese citizens in a gesture of solidarity (as an American president once declared, inspired by similar sentiments: “Ich bein ein Berliner”).

But the series, I submit, does more than celebrate Japan (as a concept not necessarily as a nation): it captures the mood of desperation we all feel, isolated and struggling to stay in contact and stay sane. Japan Sinks with its beleaguered but persistent optimism feels like perfect viewing in this time of corona, an essential if eclectic tool for mental well-being we can include in our select survival kit.

Art Talk: We bring Edvard Munch to You

THE Munch Museum is holding a webinar about Edvard Munch’s relationship to the coast, nature, and recreation. The talk will be helmed by curators Patricia Berman and Signe Endresen. The talk can be seen free of charge by following this link: https://vier.live/acts/munch-relationship-to-the-coast-nature-and-recreation, on Aug. 18 at 4 p.m. UTC+02. (UTC 4 p.m. in Manila is at midnight). Other talks may also be accessed at the museum’s Facebook page, @munchmuseet. 

Philippine Philharmonic Orchestra’s pocket concert series

THE PHILIPPINE Philharmonic Orchestra (PPO) continues its concert series PPO By Your Bedside, on Aug. 7, 8 p.m., on the Cultural Center of the Philippines’ website. The concert’s repertoire will include the songs “Usahay” by Gregorio Labja, to be performed by Joy Allan De la Cruz on the viola; “Bayan Ko” by Constancio de Guzman, to be performed by Jay Ar Mesa on the French horn and Manuel Agustine Chua on the guitar; the Pangasinense folk song “Malinac Lay Labi” as performed by Dino Decena and Christian Tan on violin, Rey Casey Concepcion on the viola, Giancarlo Gonzales on the Cello, and Rommel Cruz on the contrabass; and Wency Cornejo’s ”Hanggang,” performed by Hercules Santiago on flute, Christian Tan on violin, and Giuseppe Diestro on cello. PPO By Your Bedside is part of The Music for Healing: PPO in Quarantine Pocket Concert Series, an ongoing program which can be viewed on the PPO FB page and the CCP YouTube as platforms. Initially intended as an online music offering to Filipinos who are recuperating in their beds in hospitals or at home as therapy to aid in their healing, it also aims to accompany the whole family in coping with the pandemic situation and the frontliners who bravely provide their services to fellow countrymen in need. The series offers two other programs, the PPO in the Workplace pocket concert and the PPO in your Living Room pocket concert.

Gabriel Barredo’s Opera by Ballet Philippines

GABRIEL BARREDO’S Opera, with choreography by Redha, considered by Ballet Philippines’ President Kathleen Lior-Liechtenstein as one of their best performances, will only be available for streaming until Aug. 14 as the ballet has been accepted to the International Ballet Festival of Miami 2020. The ballet is currently on view on the Ballet Philippines website: ballet.ph.

Bimpo Improv offers class

IMPROVISATIONAL theater group Bimpo, is holding an hour-long session featuring improv games and exercises “in a safe, non judgmental space.” Called Quaranbreak: Pause and Play, the session is free and will be held on Aug. 15, 7 p.m., via Zoom. Slots are limited. To register, go to https://tinyurl.com/y5a5dvvh or message 0956-554-1933.

PETA’s Online Theater Workshops

THE PHILIPPINE Educational Theater Association (PETA) is holding a series of online theater workshops starting Aug. 17 until Sept. 5. Topics include introductions to visual arts and writing, acting workshops for screen and theater, and creative musical theater. For more information and to register, visit www.bit.ly/PETAOnlineWorkshop or contact betitasarmiento@petatheater.com or via 0926-406-6858.

PPO Instrument Petting Zoo spotlights the French Horn

THE PPO Instrument Petting Zoo continues with its live online program with the spotlight on the French Horn on Aug. 9 at 4 p.m. via the PPO Facebook page. French horn player Jay-Ar B. Mesa, a member of the horn section of the Philippine Philharmonic Orchestra (PPO), will talk about the French horn and demonstrate how it is played. Mesa will also perform classical pieces suited for the French horn. The PPO Instrument Petting Zoo, a project of the Cultural Center of the Philippines and the PPO, aims to promote appreciation for musical instruments of the orchestra and its music among children and families. It is held every Sunday at 4 p.m., and runs for several months. 

Ballet Philippines holds masterclass

BALLET PHILIPPINES’ Masterclass by the Masters this week features Victoria Ananyan, a Principal Dancer at Les Ballet de Monte Carlo, on Aug. 7, 4 p.m. For details go to ballet.ph.

Enchanted Kingdom’s Kiddie Chef Challenge 2020

ENCHANTED KINGDOM’S Kiddie Chef Challenge 2020: Recipes from Home Edition is an online challenge open to all aspiring little chefs ages four to 12 years old who want to show off their culinary skills. The child’s food entry, made  using Purefoods Tender Juicy Hotdog, SPAM Luncheon Meat and/or Magnolia products inspired by one of EK’s seven themed zones (check the official website for information on EK’s zones www.enchantedkingdom.ph), can be shared until Aug. 11. Winners will be announced on Aug. 14, and will receive four Regular Day Passes each plus a special gift basket from EK partners. To join one must first “like” Enchanted Kingdom’s official Facebook page. All entries must have the complete recipe (including the participating products used) and a photo collage of the finished dish with participant’s photo while cooking. Post the photo at EK Kiddie Chef Challenge FB post’s comment section, and use the hashtags: #EKKiddieChef, #iloveEK and #EKatHome. For more information, visit Enchanted Kingdom’s official website and Facebook page at www.enchantedkingdom.ph and www.facebook.com/enchantedkingdom.ph or click https://web.facebook.com/notes/enchanted-kingdom/kiddie-chef-challenge-recipes-from-home/3624944944200412/?_rdc=1&_rdr to know the complete contest mechanics.

TWO MONTHS after telecommunication company Smart Communications named Korean actor Hyun Bin as its endorser, the company has added another Korean to the mix: Mr. Hyun’s leading lady in the hit series Crash Landing on You, Son Ye Jin, as the face of its postpaid line.

“Well it was really an easy choice for us. We really hoped we could bring her in with her popularity with Hyun Bin and CLOY (Crash Landing on You),” Alfredo S. Panlilio, CEO and President of Smart Communications and PLDT’s chief revenue officer, said during the launch on Aug. 4.

Mr. Panlilio, in June, said that they wouldn’t want Hyun Bin to be “lonely” when asked about the prospect of having another Korean endorser. This, according to Jane J. Basas, Smart’s SVP and head of consumer wireless business, was the catalyst for bringing Ms. Son to the Smart fold.

“We knew that we had to get her because of the positive reaction to that statement,” Ms. Basas said in the same event.

It also helped that the Hyun Bin campaign was so successful that Ms. Basas said it was “one of the best in the history of the brand.”

“The appeal just cut across demographics and economic classes. And I think in terms of how he translated into the business… June happened to be the best month this year for Smart, even better than the three months pre-COVID. We hope that performance is sustained with Son Ye Jin now joining the family,” Ms. Basa explained.

Ms. Son is now the face of the company’s postpaid line, Smart Signature, and her TV commercial features her in South Korea riding a motorcycle.

Son Ye Jin rose to fame in romance films and series including The Classic (2003), Summer Scent (2003), and April Snow (2005). She also gained recognition for her versatility as shown in the films The Last Princess (2016) and The Truth Beneath (2016).

She rose to international fame when she played the spunky Yoon Seri, an heiress who survives a paragliding crash and meets and falls in love with a North Korean soldier, captain Ri Jeong Hyeok in Crash Landing on You. The show aired on Netflix and ran on Korean television from 2019 to 2020. The show, during its height of popularity, was consistently in the top 10 (or at the top) list of Netflix’s trending shows in the Philippines.

“As an actress, I am always grateful for having a platform to entertain and touch the lives of others through my craft. I thank Smart for giving me a way to specifically reach out to my Filipino fans and inspire them to make a mark in whatever path that they have chosen. I wish to see you all soon,” Ms. Son said in a statement. — ZBC

By Christopher Palmeri and Kelly Gilblom, Bloomberg

DEPENDING ON who you ask, Walt Disney Co.’s decision to release its next big film Mulan online either guarantees the movie will lose money or could be a smart way to potentially break even on a $300-million investment.

With theaters in the US still largely shuttered due to the coronavirus, Disney will make the live-action redo of its 1998 animated hit available for purchase by Disney+ subscribers for an extra $30 starting Sept. 4.

Just how much money that produces is up for debate. The company is limiting the offer to subscribers of the company’s new streaming service, which numbered 60.5 million globally at last count. It will also release Mulan in the small number of theaters that are open.

Direct-to-consumer releases have been percolating in the film industry for years — and used to be a way for studios to ditch movies they thought would fail. But COVID-19 has changed that. Universal Studios, owned by Comcast Corp., gave families fresh fare at the peak of the pandemic with its April online release of the animated sequel Trolls World Tour. It produced more than 6 million downloads at $20 each, less than the first film did in theaters but a respectable amount just the same.

Bloomberg Intelligence analyst Geetha Ranganathan thinks Disney will have no problem getting 10 million fans to pay for the picture, generating $300 million. That’s at least enough to break even on the $200 million production cost and $100 million in marketing. Anything beyond that, including theater revenue and new Disney+ subscriptions, would make Mulan a winner.

Investors seemed to agree. They bid shares of Disney up 8.8% to $127.61 Tuesday in New York following the announcement and the company’s report of better-than-expected quarterly earnings.

But Michael Pachter, an analyst with Wedbush Securities, is more circumspect, suggesting no more than 3 million Disney+ subscribers will shell out that extra $30. That $90 million in revenue pales in comparison to what a successful Disney film does in theaters.

“Not good enough to offset a theatrical release, but good enough to offset zero in ticket sales,” Pachter said.

Variety, the Hollywood trade publication, asked people on Twitter if they would pay for the film. And 85% said no.

Last year, Disney had seven films top $1 billion at the box office, including the live-action remakes of Aladdin and The Lion King. Unlike digital downloads, ticket sales are split with theater owners.

Major theater chains declined to comment on the Mulan movie, but it’s likely Disney briefed them ahead of time. When the chief executive officer of Cinemark Holdings, Inc.’s shared a list of upcoming movies with investors on Tuesday, Mulan wasn’t even mentioned.

Financial Bind

Theater operators are in a bind. They have suffered huge financial losses as a result of the COVID-19 closings. AMC Entertainment Holdings, Inc., the largest US cinema owner, completed a restructuring of about $2.6 billion of debt this week.

The chain surprised the industry when it agreed last month to let Universal release movies online after just 17 days in theaters in exchange for a cut of the online revenue. The studio made it clear at the time it won’t be using that arrangement for all of its films.

Executives at Cinemark and Marcus Corp., another large exhibitor, said Tuesday that sharply curtailing the exclusive period for theaters isn’t a good idea.

Disney CEO Bob Chapek reassured some in the theater industry on his earnings call, saying the Mulan digital release would be a “one-off” and a learning experience. He made it clear he was as interested in the number of new streaming subscribers the film produces as the revenue from the downloads.

Recent Experience

There, Disney has had some recent experience. It’s been offering pay-per-view boxing and Ultimate Fighting Championship matches through its ESPN+ streaming service and indeed cited the latter Tuesday for an uptick in streaming revenue.

Another wild card for the studio is a theatrical release in China, where Disney+ isn’t offered. Mulan, given its Asian storyline and cast, was always considered a likely hit in that country, the world’s second-largest movie market.

But the film has some other baggage. Liu Yifei, the China-born actress starring in the film, caused an uproar and ongoing fodder for a #BoycottMulan hashtag after stating her support for Hong Kong police during pro-democracy protests. President Trump’s escalating trade war with the country could also affect its theatrical release there.