#mumblecore

Funny Ha Ha Andrew Bujalski. 2002

Diner Deluxe Town Diner, 627 Mt Auburn St, Watertown, MA 02472, USA See in map

Hello to everyone reading, and welcome to a highly belated attempt to squeeze some of my thoughts and emotions through some semblance of a creative process and onto a page. Today, I want to introduce this blog by talking about a lovely film, blue (2002), directed by Hiroshi Ando and based on a manga by Kiriko Nananan.

Since I'm still somewhat new at diving into live action film, especially, like, uh, Japanese indie film, its helping to start with the yuri genre. Because like practically any other woman on this site, I quite enjoy lesbians. blue's manga original offers something of an alternative to the yuri norm, though, and the film follows suit. Both are definitely examples of the Japanese filmmaking trend I've heard of called "mumblecore," (or maybe mumble-komi for the manga equivalent) that most people know through the likes of Inio Asano's early work. Like Solanin or Girl on the Shore, blue is shoegazey, quiet, and contemplative, adorned with moments of subtle physical intimacy, layered emotion, and stunningly beautiful compositions of daily life.

My metric for these kinds of slow mood pieces, which I've previously tended to watch at random whenever the mood struck me, is that if my barely-medicated ADHD brain can even finish them, there's clearly something special going on. blue passed with flying colors; yeah, ok, it took two sittings, but I spent all of both enraptured, immersed, and invested in the mono no aware of silent, fragile love and messy asymmetry that formed this movie's emotional palette. blue is about love, of course, but its also about process and expression, both emotional and creative, and how processing things, artistically, verbally, non-verbally--is often required of real, human love.

In being about this, I think it did things for me that a lot of yuri often doesn't and gently hit me in a place that I really needed to be hit. So, let me get into it. This is going to be...very personal, and also obviously spoil the details of the film, if you care about that, although I'm sure there will be plenty of depth left in the text that I leave untouched. Whether you read it or not, I'll be happy I made it. Oh, and sorry if I come off as really New for being so struck by themes and aesthetics that are probably sort of standard for this type of film. I can't help what I feel like writing about, though.

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Kirishima Kayako lives in a small town by the sea, one much like dozens of other anonymous, disaster-prone exurban towns in Japan at the turn of the millennium. She rides the bus to her girls' high school every day, where she eats lunch with her friends and tries her best to learn something in class. Really, though, she's aimless, quiet, lonely, and introspective. She's trying, but its rare for others to be able to tell. She's also in love with her classmate, Endou Masami. When she confesses at the end of the first act, on a windy beach against the vastness of the ocean, Endou responds that she's glad, and the two become our lesbians for the movie. Kayako falls to her knees and cries in relief. Masami is different from the others--she sees how hard Kayako tried. Does that mean she loves her back, though?

Endou Masami has cool passions and interests; she collects American CDs, which she expertly critiques and describes while lending to friends. The mere view of her vibing to her American alt-rock while smoking a cigarette in front of her apartment window is album-cover worthy in itself. Kayako feels the same way: one of the most intimately gay scenes of the pre-confession portion of the film is when Masami lights a cigarette and asks if Kayako is shocked. The quiet girl declares without hesitation, "No, I'm admiring the way you lit the match."

The whole early film is such a delectable, lonely vibe. The slowly intertwining couple's solidifying dynamic is the kind that forms between an emotionally complex introvert and the perhaps even more unknowable yet somehow more confident object of their affection. The two are classmates, (there's no classic yuri kouhais and senpais here) but for the early part of the film we are seeing things from Kayako's perspective and Masami seems unmistakably older in spirit. There's something about the dense emotions conveyed in her gazes at her new girlfriend, the almost world-weary tinge of recklessness in her distant grins. She talks about music Kayako's never heard of and lends out books with Romantic-era paintings that she has well-formed thoughts on. Kayako even openly admits that if she could, she would want to be Masami.

I think we've all loved a girl like that.

It's a pretty typical experience in middle school or high school, for really anyone lonely who loves women, to be drawn to these sorts of sad, beautiful, oh-so-seemingly-complex femmes. I guess straight men have a similar thing going on with the whole Manic Pixie Dream Girl archetype, but for us women (or, women-to-be, at the time, I guess), the phenomenon of these people to us often involves a sort of existential jealousy. I'm not sure what is so alluring to other people about the sense that the object of their love has Something Going On that they are working through, or a vast and complicated life beyond the scope of one's understanding, but it me it always felt like something I was missing out on for myself. Obviously, a lot of their experiences and interests must be interesting and fun and super cool, you think, but even what pain you think they convey must be somehow more edifying than yours.

For me, the edifying aspect was the mere fact of femininity itself. The idea of a girl who has deep and Real emotions, who feels Real love and Real sadness and can actually express that in how she looks, beautiful and imperfect, always threw into stark contrast my own inability to express myself comparably. I was depressed, I was growing up, and I felt things, too, but, as someone who everyone thought was a straight boy and who was too scared to admit to being otherwise, I lacked that sort of beauty, that means of expressing what was inside me through fashion, makeup, book or music knowledge or taste. Or at least I thought I did. Thus, my own emotions must have also meant less. So, I ignored them and belittled them, and entire years passed before I processed a thing correctly. I always wanted to be some other girl. That was the only thing that would fix me.

I assume that the teen (and, uh, sometimes beyond) existential pining experienced by some other people in real life usually lacks the fun bonus that mine had of a screaming void where my femininity should have been, but I'm not sure how much this actually matters to the crux of the kind of experience I'm talking about. That some kind of void is there is all that matters, really, and its there for Kayako in her relationship with Masami at the beginning of the film. She has nothing, Masami is everything, and just being close to her is enough, for now. Just being noticed, just sharing something with her, is all Kayako feels like she can ask for.

Of course, this incomplete way of seeing love can't last, which brings us to the next part of the film, which starts when the two are hanging out and Masami reveals through a guarded, distant grin that she had an abortion a while ago. This isn't something that shocks Kayako or is really meant to shock the audience, and it isn't the big moment where she forced to reconsider her feelings. Rather, she asks how it went, and Masami responds honestly. She mentions she felt horrible the next day and had to be picked up by ambulance from the nurse's office, prompting Kayako to recall silently what to us was the film's first scene, a view from her window during class of an anonymous ambulance, sirens turned off, discreetly rescuing a student.

That she had this ambiguously traumatic, and at least unpleasant and potentially taboo experience is something that could have made Masami feel even older to Kayako, her pain even more distant and obscure. It certainly already is a way that Masami herself feels distant from others. Yet, by considering her own special, observant view of the ambulance back when it happened, it becomes one that Kayako can in some small way assertively share with her. Rather than continuing to put her lover's experiences on a pedestal, Kayako in this scene makes a silent decision to turn a blossoming mutual acceptance simply that they happened into a moment of true intimacy between the two, a sleepover punctuated by smirking kisses and satisfied cuddles initiated by each of them for the other. Despite her remarks that Kayako is weird for unhesitatingly wanting to stay with her, its an intimacy that Masami is happy to accept. This is all an important turning point in Kayako's development because she begins to choose insight, closeness, and assertion over the distant admiration that trapped her earlier.

As we go on, we'll start seeing how blue's gentle impact comes from the way it doesn't glorify or sugarcoat that earlier kind of unhealthy and immature dynamic. Instead it subverts it by giving Masami depth and Kayako agency, before reaching an endpoint that reflects on how the dehumanization of that kind of depressed, pining relationship can be overcome. In that sense, blue is a yuri romance mostly about the couple coming to accept their own and each other's humanity and capacity for expression. Like any good mumble movie, its full of long silences and almost unrealistically hesitant dialog, and doesn't give any explicit internal monologues like a lot of manga do. The world of this movie is one where expression is an uphill battle, something that has to be worked towards and struggled through. It's the world that Kayako and Masami share, in their own separate ways. And that's why its such a triumph to watch Kayako finally find her voice, her passion, and her process, which all starts in this scene.

First, though, it's time to learn about the Something that Masami has Going On.

Things begin when Kayako is still sleeping. Masami gets a call on her house phone that she doesn't answer, but that sends her into a silent spiral of emotional dread. She spends the next day at school in the nurse's office, refusing to tell Kayako what's going on and confiding only in her friend Nakano. Then, when summer break comes along, she disappears, leaving Kayako alone at home, pouring silently over the book of still life oil paintings that Masami lent her.

It ends up being Nakano who tells Kayako why she left. It's the story Masami didn't tell about the source of her abortion: an adult, married man whom she had a relationship with and eventually a pregnancy from. She got things taken care of without telling him, alerted her parents and tried never to see the rotten salaryman again. That is, until he called. He wasn't getting along with his wife anymore, apparently, and she had some sort of attachment to him that made her come running back. Her taste in music originally came from him, after all. It seems that, for the time being, her devotion to this mysterious, abusive man is going to perpetuate a brutal cycle: she'll keep hurting both Kayako and herself all at once.

What really destroys Kayako and her relationship, though, is that she lies about it. When she comes home after some predictably rough interactions with this guy, she tells her supposed girlfriend that she was enjoying a vacation with friends, and even gives her some grapes, supposedly grown in the prefecture she was hanging out in, as a twisted souvenir. The more assertive Kayako enforces her boundaries without hesitation, though, in equally as blunt a tone as she complimented her love, as when she told her she wanted to stay with her, all those nights ago. "Why are you lying to me?" Its with that same grin, now tinged with emotionally oblivious deception, that Masami dares to at first first feign ignorance.

"Eh?" Her smile is shallower than its ever been.

So Kayako walks away.

Their dynamic has now become worse than just immature; it's entirely toxic. From an outside perspective, Kayako is working on her shortcomings, while Masami refuses to reconcile her past. This kind of toxicity, though, is sadly just as common in high school (and even sometimes middle school) as is the kind of misunderstanding, lonely pining I talked about earlier, just usually among different sorts of people. Appropriately, its often even that exact kind of beautiful, hurting, mature femme (in the eyes of disastrous, moody lesbians like Kayako) who is going through that sort of pain. Its that mysterious and tragic byproduct of compulsory heterosexuality that causes a lot of girls to seek validation in the love of an older man, and that I imagine becomes a sort of addiction to that validation that only masquerades as love. Hell, Masami attributes much of what made her seem so interesting on the surface, her love of music, to this guy. She feels like she'd be nothing without him, and the way Kayako praised her, at least in the way she interpreted it, did nothing to dispel this fear. Which I think is really why she decided to go back, even though it would mean betraying the very girl whose love provided her an escape from it all.

Its an ugly truth, and its one that yuri media usually shies away from portraying, but it is explored with refreshing frankness and resolved with astounding maturity by the end of blue. And I think its the source material's status as "alternative" (I guess in Japanese parlance, Garo-inspired) manga, not to mention the movie's simply as an independent film, that allows it to break with genre limitations in this way. There's been tons of writing done on how yuri definitely presents a fantasy of the sapphic experience. Mainstream yuri's origins in Class-S still to this day often cause it to portray romances between women as fundamentally different, and inherently more pure, than those involving men, trapping them in a bubble of unassailable innocence. While that kind of makes sense and seems extremely cool to those of us who celebrate having little interest in moids or whatever, it also has the effect of sugarcoating and sometimes even outright obscuring what real women, even (and sometimes especially) sapphic ones, go through.

There's already a decent amount of yuri, especially among those aimed at older demographics and those where its more of a secondary genre, that do deal with compulsory heterosexuality and the experiences that come with it. What are much rarer are yuri series where one of the lover's flaws more resemble Masami's than Kayako's. Not enough that I've read at least is willing to make its relationships messy, or have one of its leads just do straight up bad things like self-destructive cheating and lying.

Because, really, its the same as what Kayako went through, isn't it? The lonely longing for something more that feels like it can only be cleansed by denying oneself all one has and betting it all on being close to someone else. The only difference between the two's actions is temperament and perhaps socialization--one sought it from a cooler woman, the other from an older man. And somewhere out of sight, that sad, irresponsible, fucked-up adult was probably hopelessly lonely, too, just like Kayako had to accept Masami was. Maybe disaster lesbians, disaster bisexuals(?), and yes, disaster straights aren't so different after all.

Well, other than that Kayako has worked to process her feelings, while Masami went and ruined her relationship over them. That's an important difference. Still, though, even Kayako has some work to do about how she feels about all of this. Masami's pedestal has been smashed, whether she likes it or not, and now she's lonelier than ever. So where does this vampiric cycle of taking from others end? What substance can replace loneliness in this ouroboros of etropic emotional alchemy?

Kayako doesn't touch the grapes. Instead, she silently processes things, lies on the floor listening to the cicadas scream in the garden. The grapes go rotten, and her brother throws them out. She sulks for a while.

Then, she starts painting. A still life of grapes, inspired by the books that Masami lent her. At first, her drawing is lousy, as the school fine arts instructor later tells her, but the colors are gorgeous. The deep purples of the fruits are expertly layered to capture light and tell a story, one deeper than the instructor could possibly imagine. It's the story not only of the transformation of a relationship, but of the growth of one of its participants. As the hot, still air of the coastal Japanese summer cloys around her lonesome final vacation of high school, Kayako finally salvages a passion to call her own out of a floundering relationship. When school starts again and she picks up art classes, going to Tokyo for uni, a dream that was previously held only by Masami, starts to be within her reach. She has a future, an interest, and a way to process all has happened to her.

And then comes the time for Masami to try and return. She proves unwilling to address all that happened before, instead trying to kiss Kayako after school in the art room. Her undeserved attempt at intimacy is rejected with a shove, but so too is her self-pity that causes her to instantly run away. There's more that needs to be said that simply "I'm a terrible person." Kayako pursues her into the town's small shopping district as night begins to fall and neon crackles to life against a cool late summer night. Now the emotional climax of the movie begins.

First, Kayako starts talking. She tells Masami about the painting, about her summer, about how lonely she was without her, about all the places she wanted to go with her. She talks about how happy she was at the same time that she found something she wanted to do without her. This approach is new for her. She's never so far relied on words so heavily to express her emotions. When Masami points this out, Kayako says:

This is how she's choosing to process things for the time being. At first, it was being silent to carefully consider her emotions. Now, its speaking up to keep them focused on what she really wants.

Then, its Masami's turn, for the first time, to tell the truth. By now they're away from the small cluster of lights, staring out at the blackness of the beach where they first got together. Masami broke up with the guy, she says. But she also asserts that she came to his emotional aid to begin with because she felt his need for help was more important than anything else to her. She couldn't tell her girlfriend this before, because doing so would mean telling a truth she didn't think Kayako could bear to hear: that he meant more to Masami than she did.

Kayako already knows this, of course. And by speaking up to quell her justified anger, by weaving words like the deft strokes of honest color on the tip of a paintbrush, she's gotten herself to a point where she can accept it, too.

I mean, think about it. Masami is broke now; Kayako needed to buy her a sandwich so she wouldn't be hungry on their impromptu date. Her sabotaging drive to be validated and her inability to accept love from the girl willing to give it has, by all accounts, ruined her life for the time being and harmed those around her. Even though she broke up with the guy out of necessity, or out of some fleeting impulse to run back to Kayako, she still feels like nothing without him. As she says to Kayako later, now the envy runs in reverse--Kayako is passionate about painting now, while Masami will still amount to nothing. Despite it all, though, Kayako is willing to love her. She's called Masami out on what she needs to be, then decided to stay nonetheless.

"I always come second. You broke up with him, so the number one spot is vacant. When someone else comes, you'll put him there...

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For most of my life, I believed that artistic expression was primarily the product of unrestrained, innate, and self-indulgent passion. I thought it was just something people either have or don't have, and that when they do, its something that can drive them to great heights of accomplishment and happiness otherwise impossible for humans to reach. It was mostly Japanese otaku media that instilled this into me, I think. I grew up exposed to a dizzying array of diverse and often miraculous artistic products that captured my imagination in ways the safe output of my own boring, monolithic home empire never did, and most of them were made by people who literally poured their lives into working on them. From Eiichro Oda's future-destroying, decades-long devotion to making One Piece to Kentaro Miura giving his life to practically paint the ceiling of the Sistene Chapel in pen on page after double-page spread in Berserk, to all of the hyper-passionate, universe-shattering early works of Hideaki Anno and his animator cohorts, I thought that I lived in a world of weird and wonderful treats whose cooks had the work ethic of demigods and the talent to match.

And even on the lower levels of the medium, among fan artists, cosplayers, writers, posters, historians, I felt surrounded by people who lived and breathed impossible passion, whose lives must have been defined by a kind of information processing my brain simply wasn't capable of. They had some ability to inhale the miraculous vapors of an abundant artistic landscape and spew out works of their own that further decorated the texture of a fleeting age of impossible marvels. And all that time, there I was, left on the sidelines, interested in many things but passionate about none, and lacking the motivation to really work to pursue anything at all. It was (and, honestly, still is) a state of existential discomfort similar to that sort of lonely-girl-pining, but doubtlessly far larger in scale. Some people had passion, while I had nothing to show for all my years of being alive. For fuck's sake, there was so much stuff out there, and I barely could muster the motivation to even read any of it most of the time.

After a while, I started to feel like I was simply broken, like I was an empty person that didn't belong in the very world I loved living in. And while I think this might be a niche outlook and insecurity (although one represented, to my profound gratitude, in Masami), I think it's also how a lot of people think about love. Love is often portrayed as a feeling sparked entirely of instinct, one that, when a person truly feels it, will never cause them to make any mistakes or do anything fucked up to those they care about. Something that will drive those bolstered by it to impossible heights, improve lives beyond the sorrow and loneliness to which they are otherwise condemned. But, as Kayako learned and as Masami and I are having to find out, that isn't really the whole story.

Expression is love. Love is process. Therefore, expression is also the labor of putting love through a process, of rigorously trying to get your ass in a seat and put in the steps of putting your feelings into form. As this is required of art, so is it required of relationships. And so the two are a cycle. Creation requires emotions to process; relationships require emotions to be processed. And the love that creation inspires feeds itself into the love for others that inspires the emotion to fuel more creation. A Labor of Love. Again, I know I'm New.

But this is what Kayako has been working up to all movie long, first with her silence, then with some words, then with the labor of painting, the iteration of getting better, then with more words again. She has found a slow cycle that is elevating her above her loneliness, a cycle that Masami helped create, and is welcome within, but that can, if need be, exist without her.

Love, labor, process. Expression, creation, process. Creating, processing, choosing...in the end, to do it all again. To stay with what--and who--you have labored to love. And that is the choice Kayako has made.

I have not yet answered what, after thinking and writing about this movie for days on end, might be the substance that can replace loneliness as fuel for the alchemical cycle of emotional taking and giving. By the end of the lovers' reunion, sitting by the road under the slowly-illuminating blue of a haphazardly-clouded dawn sky, Masami doesn't feel like she has an answer, either. She feels small and hollow, manipulative and weak. She's jealous of the coping strategy her own girlfriend has developed to deal with the effects of her bad behavior. So, in the end, what is she? What is there even left for Kayako to love?

I'll be honest, this feeling is so fucking real I get perilously teary every time I think about it. Because, for as much as I mused about Kayako's feelings resonating with me as a former and sometimes girl-piner, when it comes to my current relationship at age 22, it's Masami in whom I see myself most clearly and brutally. It's hard not to when she is the only representation in romance, let alone in yuri, I have seen so far who is as much of a fucking brat as I am at times. Whose tendency to sabotage her own relationship makes it so asymmetric that what her girlfriend feels appears almost one-sided, but whose love is real all the same. If she lacks process, talent, maturity, mystique, if no one is ever going to be good enough for her, then what at all does she have left?

The answer to all of this is the thing that lies at the core of her being, that makes her who she is. The source of her potential to express herself, the starting point of a process yet to fully begin. It's hard to see, but it's there. Its what makes her Endou Masami. And its what Kirishima Kayako loves the most.

It's color. It's the thing at the core of creation that can't be described with words, that forms the motivation for any process. Its the vivid purple of a painted grape whose intentional creation transcends deception and nurtures discovery. It's the blue of a dawning sky whose light guides two girls in messy, lopsided love back into each other's arms. It's Kirishima Kayako. It's Endou Masami. It's what everyone has, and it's all anyone has.

It's the source of love, its process, and its object.

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Eventually, Kayako has to leave for Tokyo. That's the decision that's best for her, and its a decision that, for the time being, will leave Masami behind in the countryside, hard at work on the process of learning to love herself. At the end of the film, she sends Kayako one final piece of proof of who she is. It's a painting of sorts, recorded on VHS, composed not of oil but of compressed light and sound. Stylistically, as the camera zooms in, it begins to resemble less Renoir and more Rothko: at first, its the beach, then, simply the point of the horizon, the area where the sea and sky meet. Its raw, not quite processed, pure color, vibrant blue, filtered and compressed into chunky, washed-out 800x600.

By way of description, "this is all I can do."

For years, I've struggled to believe that my emotions, hindered by depression and self-sabotage, have any value at all. As someone for whom love, passion, and expression have always felt difficult, even putting my thoughts down on a page, let alone drawing, painting, composing, or directing, has always seemed impossible. Recently, though, I've grown a lot. I've found the beginnings of a process learned to accept its existence. Both this process, and all the loves that go along with it, are often uncomfortable. They are painful and brutal and blissful things into which to pour the labors of communication and the torments of understanding. I've learned to process discomfort for the sake of creation, to create for the sake of love. It sounds cheesy, but again, I can't help what I wanted to write about.

I hope you'll join me as I find more new things and tough feelings I love to process on this account. There's so much more I'd love to say about blue, just for starters. I could talk about my undying appreciation for the work of Mikako Ishikawa, or how the shots in this movie are so gorgeous and evocative that I'd seen many of them before in "Japan in the 00s" vibes compilations.