Love Life (2022) Drama Movie Review

From an outsider's viewpoint, social workers and newlyweds Taeko (played by Fumino Kimura) and Jirō (portrayed by Kento Nagayama) appear to lead an ideal life, raising Taeko's son Keita (played by Tetsuta Shimada) in a sunlit apartment. Co-workers join in planning a surprise party for Jirō's father, Makoto (Tomorô Taguchi). Living close to Jirō's parents, Taeko can even wave to her mother-in-law Myoe (Misuzu Kanno) from her balcony. However, beneath the surface cheeriness lies deep-seated family tensions, unspoken secrets, growing jealousies, and an impending strain on their young marriage.

Fukada skillfully reveals these tensions gradually, starting with meaningful glances, shared or solo. Casual conversations follow, sprinkled with subtle, hurtful remarks. The climax comes with grand gestures and monologues that unveil hidden feelings, misplaced loyalties, exposed selfishness, and long-overdue self-realizations.

Before the surprise party, tension was already simmering, especially as it doubled as a celebration for Keita's recent Othello championship. A series of unfortunate events, including an encounter with Jirō's ex Yamazaki, a hurtful comment about Takeo being "used goods" from Makoto, and a tragic accident involving Keita, bring everything to the surface. The unexpected return of Taeko's first husband, Park, adds another layer of complexity.

Park, a half-Korean transient, reenters Taeko's life at an emotionally fragile moment, deaf, homeless, and accompanied by a stray cat. The lack of closure between them becomes evident, now exposed for all to see. Park disrupts a wake, wearing a ragged mustard yellow t-shirt that contrasts with the solemn black attire of the others. He slaps Taeko, leading to a violent confrontation and her emotional breakdown. The shared connection through Keita draws Taeko and Park together in a way Jirō cannot fully understand.

Taeko reluctantly becomes Park's translator, initially against her will but later encouraged by Jirō. As the exes spend more time together, Jirō also reconnects with his ex, Yamazaki. All four individuals seem stuck in their past actions, unable to move on.

Fukada explores these complicated relationships using melodramatic monologues. Despite the potential artificiality of monologues, the characters' raw and contradictory emotions feel authentic, portrayed with genuine depth by the actors.

Fukada's use of blocking and framing further enhances the intricacies of the relationships. Characters are sometimes separated by physical distance, filmed in zoomed-out full frames. At other times, they share intimate moments in close-ups and two-shots, emphasizing their emotional connection.

Although Taeko and Jirō eventually find their way back to each other, they must navigate significant emotional and physical distances. The film concludes with a poignant shot following them from their dining room to the empty street, highlighting the remaining distance in their connection. The uncertain ending leaves the audience contemplating what might happen next, echoing Akiko Yano's lyrics, "Whatever the distance between us, nothing can stop me loving you."