[TIFF Review] Sacrifice, The Furious, The Voice of Hind Rajab, Tuner, Kokuho

On the fourth and fifth days of the Toronto International Film Festival (TIFF), I watched two Hollywood films and three films from Asia. These included The Furious, an Asian action movie; The Voice of Hind Rajab, which won the Grand Jury Prize recently at Venice Film Festival; and the popular Japanese film Kokuho.

Sacrifice

This film's first act feels like a satirical comedy, mocking the hypocrisy and performative environmentalism of the wealthy elite. However, it later seems to become increasingly serious, losing its satirical edge and resulting in a somewhat inconsistent tone. Among other things, some subplots involving Mike Tyler (Chris Evans) in the middle section seem entirely unnecessary. The movie later appears to evolve into a conflict between faith and science, but after watching the ending, one might conclude the film lacks overall meaning. Despite issues with its tone and script, it remains a well-made and entertaining film. I particularly enjoyed its art direction and set design.

The Furious

The story of this film is quite simple: the male protagonist (Xie Miao) must rescue his daughter, who has been kidnapped by a human trafficking ring. While searching for her, he encounters a journalist (Joe Taslim) investigating the group, and they join forces to save the daughter. From the moment the daughter is kidnapped, the protagonist is almost constantly fighting. Just when the audience thinks the fighting is over, another battle begins, and he continues this until the end. Directed by Kenji Tanigaki, the stunt coordinator of Twilight of the Warriors: Walled In, the film features martial artists from various Asian regions, showcasing different fighting styles and employing surprisingly creative props. It is, in my opinion, one of the most outstanding and exhilarating martial arts and action films seen in recent years. The five-person fight scene near the end is particularly spectacular, with editing and visual effects that are simply breathtaking. The actors engage in intense, close-quarters combat, with action choreography and performances that are truly praiseworthy.

The Voice of Hind Rajab

This film is based on a true story, centering on a Red Crescent volunteer's attempt to rescue a five-year-old girl, Hind Rajab, who was trapped in a car surrounded by Israeli forces. In the movie, a volunteer receives a distress call and, after repeated investigations, successfully contacts Hind. The film uses actual audio recordings, allowing the audience to directly hear Hind's real voice and pleas for help, making her cry for assistance feel immediate and heartbreaking. Through the volunteers' genuine perspective, the film depicts their efforts to communicate with Hind, a process filled with twists and turns that allow the audience to experience the volunteers' hope, helplessness, and despair in real-time. Although the film is based on a true story, and the audience may already know the outcome, hearing Hind's voice and witnessing the actors' performances still evokes feelings of anxiety, worry, and trauma.

In the film, the volunteers require approval from the Israeli military to arrange for an ambulance to reach the vehicle where Hind is located for a rescue. In one scene, one of the volunteers, to expedite the process, suggests publicizing relevant audio recordings and photos on social media to attract international attention. However, someone questions why, after more than a year of constant social media circulation of photos and videos of casualties, they believe this incident will finally garner public empathy. The director, through the medium of film, presents this heartbreaking event to the audience. The question remains: can it finally elicit public empathy?

Tuner

This film shares similarities with Fuze (which I watched a few days prior), blending innovative elements into a traditional crime narrative to bring it a fresh perspective. Compared to Fuze, the characters and sound design in this film make it even more memorable. The protagonist, Niki (Leo Woodall), is a piano tuner with an exceptionally acute sense of hearing. This talent is noticed by criminals, who exploit his abilities to open wealthy individuals' safes. However, his sensitive hearing is also his weakness. The film cleverly uses this character trait to design painfully high-frequency, piercing sounds that allow the audience to feel the attacks that Niki experienced. Beyond these sound effects, the music itself is a major highlight. On one hand, it's used to create romantic and warm atmospheres, while on the other, it allows the characters to express their emotions, including a particularly intense scene by Havana Rose Liu. Leo Woodall, who has starred in many series and films recently, delivers a charming and charismatic performance here, effectively conveying his character's pain and struggles, making one anticipate his future career and performances in Hollywood.

Kokuho

This film spans decades, centering on the life of Kikuo Tachibana (Ryo Yoshizawa) in the world of Kabuki. From his orphaned beginnings to being adopted by the Kabuki master Hanai Hanjiro II (Ken Watanabe), to growing up and training alongside the master's son and designated successor, Shunsuke Ōgaki (Ryusei Yokohama), to eventually achieving fame and later facing decline, his life is full of twists and turns. The film emphasizes the importance of lineage in this profession, which is both a gift and a curse. Kikuo's father was a yakuza, not from the Kabuki world, so despite his excellent acting skills, he couldn't compete with the descendants of established Kabuki families. On the other hand, Shunsuke, born into a Kabuki family, was seen as the master's designated successor from childhood, thus carrying that expectation and pressure throughout his upbringing.

The film meticulously narrates the growth and friendship of Kikuo and Shunsuke, as well as the feuds within the Hanai family. Despite its three-hour runtime, the overall pacing remains tight, filled with emotion and tension. However, Kikuo's character development in the middle of the film feels abrupt and difficult for the audience to fully understand or believe. Furthermore, the female characters and the veteran actor Onogawa Mangiku (Min Tanaka), a Living National Treasure, lack character development and serve merely as plot devices. The film's focus on Kabuki includes numerous performance scenes. On one hand, these allow the audience to gain a deep understanding of this Japanese cultural art form. On the other hand, they allow the audience to feel the emotions and struggles of the main characters. The Kabuki performances by Ryo Yoshizawa, Ryusei Yokohama, and Ken Watanabe are convincing, emotionally nuanced, and immersive, earning admiration for their preparation and dedication.

Photo: TIFF