The kids aren't alright: All About Lily Chou Chou

Films about young people that actually explore social dynamics in an honest and forthcoming way are few and far between. That Shunji Iwai's All About Lily Chou-Chou (2001) manages this feat while also engaging the viewer on a purely cinematic level is something of a minor miracle.

Yuichi (Hayato Ichihara) is a quiet, passive boy of fourteen. Like many teens (and adults, for that matter), he is borderline obsessive about a pop culture icon, in this case the (fictional) Lily Chou-Chou of the title. Yuichi runs a message board online dedicated to all things Lily and it is though the bulletin board conversations that we learn just how much the singer means to Yuichi and many others, providing an outlet for all the rough emotions we feel as awkward, hormonal teenagers and often still have as we lurch towards adulthood. These are the years that can truly be formative for kids and the seemingly endless melodrama of school and friendships formed and broken is all consuming.

Though most of the film is centered around Yuichi, the character that is truly pivotal here is Hoshino (Shugo Oshinari). Initially a quiet type not unlike Yuichi (in fact, it is Hoshino that turns Yuichi on to Lily Chou-Chou), he gave a speech at his intermediate school's graduation and by all appearances was a model student. Now, as high school has begun, he stands up to the school bully and effectively becomes the dominating aggressor in the school. As an indication of how this change came over Hoshino, Iwai stages a long flashback sequence to a vacation to Okinawa several of the boys took over the summer break. Ingeniously presented entirely as home video footage (the young actors shot this part of the film themselves), this part of the film has a real sense of melancholy and loss, a feeling that one part of youth is being left behind as yet another stage is about the begin. As Yuichi puts it, this was the last time in his life when he was truly happy.

Hoshino nearly drowns on the trip and the event seems to have permanently altered his psyche. Now, Hoshino bullies those who tormented him, orders his friends around like minons, and even pimps out a schoolmate, Tsuda (Yu Aoi) to middle-aged business men. Tsuda'a plot line within the greater whole takes its own tragic trajectory. She desperately tries to gain weight in a futile attempt at making herself less appealing to her clients and longs for any exit to her increasingly miserable existence. Only in a scene that has her come across a group of men flying kites does she faintly reclaim a sense of a more innocent, hopeful time.

Yuichi's friendship with Hoshino becomes even more strained not only when he is asked to keep an eye on Tsuda, but when he also is coerced into setting up a tragic event for the lovely Kuno (Ayumi Ito). Kuno has been chosen for ostracization by a Heathers-like group of girls. Yuichi passively becomes a pawn in these power plays, but realizes that it all must stop. Eventually, everything comes to a head when Lily Chou-Chou comes to town for a concert. The feeling of anticipation Iwai creates here is palpable, as is the near riot that takes place just after the show. Yuichi and Hoshino run into each other before the concert and the moment is unexpectedly poignant, even though things must take a darker turn.

All About Lily Chou-Chou is certainly one of the best films about teenagers to come down the pike in quite a while. For a film so naturally immersed in its own native culture, the fact that is does such a remarkable job of transcending both age and language is to be commended. The film is also one of the most beautifully shot of the last several years and filled with excellent performances by its young actors (Shûgo Oshinari is especially impressive).

Home Vision has put together a nice disc of Iwai's film. Shot on digital video, this is one of the best uses of the format yet. His use of light is nothing short of amazing, whether the scene is a music classroom, a dilapidated industrial area, or a concert hall. The colors are vibrant and strong; the vacation segment (and another important scene) shot on cheaper video cameras look appropriately dodgier. Sound is very good, giving good presence to both Lily Chou-Chou's music (composed and performed by Takeshi Koboyashi) and the frequent Debussy and Satie passages.

Extras include trailers, a music video and a director bio, but far and away the cream of the bonus features crop is the hour-long making-of documentary. Filled with both on-set footage and behind the scenes comments by the producers and others, one comes away from the documentary with a real appreciation for Iwai's talents. His means of directing the extras waiting in line for the Lily Chou-Chou concert are particularly amusing and clever. The genesis of the project is a great story unto itself (and recounted in Iwai's liner notes), plus the sheer enthusiasm and trust he inspires in his coworkers is impressive.