Ice Cream Fever
I remember reading very positive things about Tetsuya Chihara's Ice Cream Fever when it was originally released, but like many, if not most, Japanese films, it's always a bit of a gamble when and if they'll be made available. It took a while with this one, but fans of Asian cinema already know it pays to be patient, and we're used to playing the long game. Ice Cream Fever turned out to be a refreshing delight, the type of film that may push a genre forward, even though the effects may not be noticeable right away. Now, we need to get more people to watch this film.
Japan isn't shy of dramas, and every year they manage to produce at least a few standouts. Very few of these films attempt to push the genre forward though. They are mostly about refining and contemporizing what is known to work, but artistically and stylistically, not too much is changing. Tetsuya Chihara wasn't happy with that status quo and went to work. In that sense, it ties in with films like Daughters and Hot Gimmick, sporting a more modern aesthetic and updated pacing and plot structures. Things I love to see, but which may alienate its target audience.
The film portrays four young women (plus one female bonus character) struggling with slightly bigger-than-everyday problems. It's not too solemn or heavy-handed ( these women don't cave under the weight of their issues), it's more about figuring out who they are while learning to appreciate life in the process. It reminded me quite a bit of Tokyo.sora, thought told in a more vibrant and upbeat way. It's less about the struggle and passive ways to deal with them, more about tackling life head-on and navigating whatever comes your way. Small disclaimer though: both films are directed by men.
A designer quit her job to take on a position in a small ice cream parlor. The pressure of corporate life got to her and killed her passion for design. In the store, she meets Saho, a writer suffering from writer's block. The two seem to get along quite well, and a friendship blossoms. Meanwhile, Yuu's niece is visiting, hoping to find her father in Tokyo. He left her and her mother several years earlier, and after her mother's passing, she feels the urge to reconnect with him. Yuu isn't too happy with the idea, and she tries to distract her niece as much as she can.
The cinematography is a clear highlight. It's easily critiqued as being too influenced by the Instagram aesthetic, but that would be underselling the look. I wasn't too happy with the more squarish aspect ratio (per usual), but the rest of the visuals made up for it. Bright and eye-popping colors are everywhere, the way things appear in and out of focus adds a dreaminess to the look and every camera move, object or wardrobe choice seems to be made or placed with intent. It's a very deliberate and complete look that helps to establish the characters and their setting.
The soundtrack is a fun one. It's not the most consistent I've encountered, but it has plenty of character and whenever it pops up it adds direction to a scene. There is room for more some subtle tracks too, but from time to time something with a bit more groove will come out of nowhere to make sure things remain light and breezy. The music isn't quite as outspoken as the visuals, so there's still room for improvement, but it's complementary, and it's another good example of how something relatively small can have a big impact on the whole.
The performances are excellent too. No overly familiar faces here, apart from Utaha (a local pop sensation) who blew up during the shoot of this film. Serena Motola is probably the most notable of the four lead actresses, although that has more to do with her distinct look. The entire cast did an excellent job bringing their characters to life. They are never just stand-ins for the emotional challenges they face, balancing visible struggles with under-the-surface emotions seamlessly. It rounds their characters and makes it a lot easier to sympathize with them.
The structure of the film's a little messy, with two separate stories intersecting ever so slightly, and some smaller subplots lingering on the sides. Each story is told with a fair amount of flashbacks, so you'll only get the full scope of the stories at the end of the film, all the while adding a little extra gravitas to past scenes. It's a familiar setup but executed well enough. The non-linear storytelling makes the film a tad more dynamic, without ever overcomplicating things. That said, you better not watch this for the intricate plot, or you might be left wanting.
Quality is important, but the more movies I watch, the more I crave films that feel novel and refreshing. Ice Cream Fever was such a film for me. It's a genuinely frivolous and uplifting drama without sacrificing depth, sporting enough stylistic creativity to stand out from a barrage of dramas released each year. Tetsuya Chihara is a talented man who has it in him to revitalize an entire genre, I just hope he gets the means and opportunities to do so. If you love a good Japanese drama, and you haven't seen this one yet, it would be smart to make it a priority.