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ariel alba
It will remind us that there is always room for love and personal growth
ON May 17, 1990, the World Health Organization removed homosexuality from the list of the International Classification of Diseases. Later, since 2004, it became a date to commemorate the fight of the LGBTIQ+ community for their rights and raise awareness about discrimination.
However, LGBTIQ+ people in Japan face certain legal and social challenges not experienced by heterosexual citizens. The current Constitution, written after World War II under the control and supervision of the United States, refers to marriage as an act between a man and a woman and is prohibited for homosexual couples.
Despite the discrimination towards this human group and the fact that the dates mentioned above are not that far away, the issue of homosexuality had already been on the rise in the Japanese film industry long before.
With diverse approaches, mainly from the 80s of the 20th century, we could remember some films such as 'Beautiful Mystery' (Genji Nakamura, 1983), considered a cult film and the first feature film from that country that addressed homosexuality as a central theme; 'Merry Christmas Mr. Lawrence' (1983) and Gohatto (Taboo), from 1999, both by Nagisa Oshima, a director of extraordinary sensitivity and director of some of the most international Japanese films, and the list could be longer, because while The closer we get to modernity, the more prevalent the theme has become.
In this sense, a film that stands out is 'Sono Koi, Jihanki de Kaemasu ka?' (In English 'Can I Buy Your Love from a Vending Machine?', from 2023, a live-action adaptation of the popular manga series of the same name by Yoshii Haruaki.
Thus we find this film that was born from the thoroughness and creativity of an incomparable filmmaker who had already worked on several equally significant works such as 'One Man's Son' and 'Reminiscence Journey'.
This is a film that stands out for its deeply human themes, its formal successes and its delicate exploration of identity and friendship. Additionally, it combines elements of comedy-drama with a sincere look at relationships between men.
Although it covers several contents (the construction of a friendship narrated with unusual delicacy, the support of friends, coming out of the closet, work vertigo in today's world, a journey towards the search for happiness, self-acceptance and self-love) , the film is simply about a love story.
In 'Sono Koi, Jihanki de Kaemasu ka?', everything that can be conceived is reduced to the gaze, which confirms the existence of the other; and from there comes the rapprochement, and then desire and love. Yamashita Ryoma, a strong, tall and muscular 28-year-old man in charge of a juice vending machine in an office in Tokyo, surprises office worker Koiwai Ayumu with a noble gesture in a moment of exhaustion from hard work. From that moment on, Koiwai, 32, cannot take his eyes off Yamashita Ryoma, with whom he has secretly fallen in love. One day, he musters the courage to start a conversation, which sets in motion a closer relationship.
Although eye contact, known as shisen or awasu, is not common in Japan, and staring into a person's eyes can be very rude and uncomfortable, at some point, their gazes meet.
Actors Matsuda Ryo and Tazuru Shoho play the lead roles, Koiwai Ayumu and Yamashita Ryoma, respectively. Next to them we see Yanagi Yurina, who plays the character of Ooishi, Koiwai's colleague and friend.
Matsuda Ryo is one of the best-known Japanese actors inside and outside his country, thanks to his role as Jonouchi Hideyasu / Kamen Rider Gridon in several films and series of the Kamen Rider universe, as well as his leading performances in the films 'Bakumatsu Without Honor and Humanity' and 'Messiah: Shikkoku no Shou', among others.
For his part, Tazuru Shoho made his acting debut precisely in 'Sono Koi, Jihanki de Kaemasu ka?'. Through his character's relationship with a man who recognizes his gay status from the first scenes and who has just entered his life, he learns to accept his sexuality and find his own voice. His authentic performance captures the complexity of his character.
Written by Kumi Tawada ('Junihitoe wo Kita Akuma' (2020), 'To Each His Own' | 'Chotto Ima Kara Shigoto Yamete Kuru' (2017) and 'A Chair on the Plains | Sougen no Isu (2013)', the The audience will be able to enjoy in this office romance how each young person becomes the center of the other's attention and they build, step by step, a very strong bond, friendly at first, romantic later, although full of clumsiness and misunderstandings.
The viewer will appreciate how small everyday mistakes, such as being late for an appointment, also contribute to boosting confidence and making the person you want to conquer feel more comfortable.
Koiwai Ayumu and Yamashita Ryoma will confirm to us that Japanese way of being when it comes to seducing: they are not as inventive as Westerners could be, as it is difficult for them to express their feelings or take the initiative. Even the first kiss takes forever to come. And it's not exactly due to lack of interest, shyness or even coldness, as many might think, but it seems that flirting is still a taboo in Japan. Although much of this has changed in the last century, Japanese society still finds it somewhat difficult to express its feelings, due to its culture of extreme respect for others.
But equally, the film transgresses, for the better, some of the peculiarities of Japanese romance. For example: the characters' dates are not with groups of friends, such as work or study colleagues, and when they declare their feelings they can lead to public displays of affection.
It is striking how Yamashita, who is the younger of the two, is the one who not only asks to exchange contact information or proposes the date without spending weeks exchanging messages, as the Japanese usually do, but he will also ask Kiowai to call him. his first name and leave aside the use of honorifics, something strongly rooted in Japanese culture.
The viewer will be able to appreciate that although they are both adults, everything related to the emotions that Yamashita awakens in Ayumu, and vice versa, feels like the first love of a teenager.
I also recommend the film for joining other dramatized films in addressing issues related to sexuality and gender identity in a conservative society with strong patriarchal and heteronormative traditions, such as Japan.
I highly value the fact that 'Sono Koi, Jihanki de Kaemasu ka?' portray the diversity of human relationships with delicacy, and contribute to dismantling the prevailing stereotypes regarding what is "normal", enabling the necessary change in society.
In short, it is a film that not only seeks to entertain us, but also makes us reflect on our own lives and relationships. It is a reminder that no matter what challenges we face, there is always room for love and personal growth.
However, LGBTIQ+ people in Japan face certain legal and social challenges not experienced by heterosexual citizens. The current Constitution, written after World War II under the control and supervision of the United States, refers to marriage as an act between a man and a woman and is prohibited for homosexual couples.
Despite the discrimination towards this human group and the fact that the dates mentioned above are not that far away, the issue of homosexuality had already been on the rise in the Japanese film industry long before.
With diverse approaches, mainly from the 80s of the 20th century, we could remember some films such as 'Beautiful Mystery' (Genji Nakamura, 1983), considered a cult film and the first feature film from that country that addressed homosexuality as a central theme; 'Merry Christmas Mr. Lawrence' (1983) and Gohatto (Taboo), from 1999, both by Nagisa Oshima, a director of extraordinary sensitivity and director of some of the most international Japanese films, and the list could be longer, because while The closer we get to modernity, the more prevalent the theme has become.
In this sense, a film that stands out is 'Sono Koi, Jihanki de Kaemasu ka?' (In English 'Can I Buy Your Love from a Vending Machine?', from 2023, a live-action adaptation of the popular manga series of the same name by Yoshii Haruaki.
Thus we find this film that was born from the thoroughness and creativity of an incomparable filmmaker who had already worked on several equally significant works such as 'One Man's Son' and 'Reminiscence Journey'.
This is a film that stands out for its deeply human themes, its formal successes and its delicate exploration of identity and friendship. Additionally, it combines elements of comedy-drama with a sincere look at relationships between men.
Although it covers several contents (the construction of a friendship narrated with unusual delicacy, the support of friends, coming out of the closet, work vertigo in today's world, a journey towards the search for happiness, self-acceptance and self-love) , the film is simply about a love story.
In 'Sono Koi, Jihanki de Kaemasu ka?', everything that can be conceived is reduced to the gaze, which confirms the existence of the other; and from there comes the rapprochement, and then desire and love. Yamashita Ryoma, a strong, tall and muscular 28-year-old man in charge of a juice vending machine in an office in Tokyo, surprises office worker Koiwai Ayumu with a noble gesture in a moment of exhaustion from hard work. From that moment on, Koiwai, 32, cannot take his eyes off Yamashita Ryoma, with whom he has secretly fallen in love. One day, he musters the courage to start a conversation, which sets in motion a closer relationship.
Although eye contact, known as shisen or awasu, is not common in Japan, and staring into a person's eyes can be very rude and uncomfortable, at some point, their gazes meet.
Actors Matsuda Ryo and Tazuru Shoho play the lead roles, Koiwai Ayumu and Yamashita Ryoma, respectively. Next to them we see Yanagi Yurina, who plays the character of Ooishi, Koiwai's colleague and friend.
Matsuda Ryo is one of the best-known Japanese actors inside and outside his country, thanks to his role as Jonouchi Hideyasu / Kamen Rider Gridon in several films and series of the Kamen Rider universe, as well as his leading performances in the films 'Bakumatsu Without Honor and Humanity' and 'Messiah: Shikkoku no Shou', among others.
For his part, Tazuru Shoho made his acting debut precisely in 'Sono Koi, Jihanki de Kaemasu ka?'. Through his character's relationship with a man who recognizes his gay status from the first scenes and who has just entered his life, he learns to accept his sexuality and find his own voice. His authentic performance captures the complexity of his character.
Written by Kumi Tawada ('Junihitoe wo Kita Akuma' (2020), 'To Each His Own' | 'Chotto Ima Kara Shigoto Yamete Kuru' (2017) and 'A Chair on the Plains | Sougen no Isu (2013)', the The audience will be able to enjoy in this office romance how each young person becomes the center of the other's attention and they build, step by step, a very strong bond, friendly at first, romantic later, although full of clumsiness and misunderstandings.
The viewer will appreciate how small everyday mistakes, such as being late for an appointment, also contribute to boosting confidence and making the person you want to conquer feel more comfortable.
Koiwai Ayumu and Yamashita Ryoma will confirm to us that Japanese way of being when it comes to seducing: they are not as inventive as Westerners could be, as it is difficult for them to express their feelings or take the initiative. Even the first kiss takes forever to come. And it's not exactly due to lack of interest, shyness or even coldness, as many might think, but it seems that flirting is still a taboo in Japan. Although much of this has changed in the last century, Japanese society still finds it somewhat difficult to express its feelings, due to its culture of extreme respect for others.
But equally, the film transgresses, for the better, some of the peculiarities of Japanese romance. For example: the characters' dates are not with groups of friends, such as work or study colleagues, and when they declare their feelings they can lead to public displays of affection.
It is striking how Yamashita, who is the younger of the two, is the one who not only asks to exchange contact information or proposes the date without spending weeks exchanging messages, as the Japanese usually do, but he will also ask Kiowai to call him. his first name and leave aside the use of honorifics, something strongly rooted in Japanese culture.
The viewer will be able to appreciate that although they are both adults, everything related to the emotions that Yamashita awakens in Ayumu, and vice versa, feels like the first love of a teenager.
I also recommend the film for joining other dramatized films in addressing issues related to sexuality and gender identity in a conservative society with strong patriarchal and heteronormative traditions, such as Japan.
I highly value the fact that 'Sono Koi, Jihanki de Kaemasu ka?' portray the diversity of human relationships with delicacy, and contribute to dismantling the prevailing stereotypes regarding what is "normal", enabling the necessary change in society.
In short, it is a film that not only seeks to entertain us, but also makes us reflect on our own lives and relationships. It is a reminder that no matter what challenges we face, there is always room for love and personal growth.
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