A Cinematic Destination

“Drive My Car” captures a splendid cinematic take on an unlikely friendship, highlighting a rising interest in East Asian Cinema

Would you ever watch a play translated from Russian, spoken in Korean Sign Language, Japanese and Mandarin?

While the thespian in me says yes, not many people would be so eager to respond the same. However, “Drive My Car” is proof that language barriers should not be an impediment rewarding audiences with an unconventional narrative.

Adapted from Haruke Murakami’s collection of short stories from “Men Without Women,” the film depicts an actor and theater director named Yūsuke Kafuku (starring Hidetoshi Nishijima). After the passing of his wife Oto (Reika Kirishima), he journeys to Hiroshima to produce Chekhov’s “Uncle Vanya.” Here, the play entails a variety of languages spoken which are then translated to audiences behind a panel. Even though Yūsuke and many of his actors don’t understand one another, they make up for lack of understanding through minute gestures.

On paper,the cinematography may not seem either stunning or compelling, but upon closer inspection, it is a beauty to see. Many of the film’s long shots showcase the mountainous views of Hiroshima, the imposing landscapes of the city and the stretches of the road.

Scenes from the film are crisp, clear and flat, which offset other components that need to be highlighted – such as Yūsuke’s car, which is canvassed in a bright lipstick-red Saab 900. Thus, the image of the car is burned into the audience’s eyes.

The editing is minimal and refrained, which makes the film slow-paced, yet it allows audiences to fully take in scenes and articulate the mannerisms of the actors. Although conversations from the film may be terse from some characters leaving for abstract interpretation, audiences are able to pinpoint the genuine feelings of characters through long examinations of its characters.

The acting is well-done and there is so much complexity to be examined by the facial expressions of the actors, such as Yūsuke’s furrowed brows when he joins the actor, Kōji Takatsuki (starring Masaki Okada) for a drink and Misake Watari’s (starring Tōko Miura) long stare into the distance as she explains the architecture of a Hiroshima garbage plant.

Special moments from the film arise out of the small conversations between Yūsuke and Misake. Their unlikely bond within the small confines of the car exposes a friendship despite their rough initial encounter. Hardened by the pains of the past, Yūsuke is initially hesitant to hand off his keys to Misake, his driver. However, over time, he comes to enjoy her long drives with him commenting that her smooth driving often makes him feel like he’s not in a car.

Nominated for Best Picture, Best Director, Best Adapted Screenplay and International Feature Film in this year’s Academy Award, the nominations have cinema goers peeking for a “Parasite” like Oscar buzz.

Furthermore, the film recently won a Golden Globe for best non-English-language picture. As a result, the film highlights a first win for Japanese cinema since “Odd Obsession” released in 1959.

Despite some refrains and doubts about foreign language films, I highly encourage people to watch this film. Recent East Asian cinema releases such as “Parasite” and “Squid Games” have shown that audiences do have a genuine interest to watch foreign cinema.

Much like the Yoon-a (starring Yoo-ri Park) says, “Sometimes I understand a lot more than words. That’s what’s important in our rehearsals, right?”

As long as audiences are intently watching out for the gestures of the actors beyond the words, the distance between audience and the foreign film are not so distant at all.