YOUNG girls cooking for other young girls ruled by women who are ruled by men—that should describe Kore-eda Hirokazu’s The Makanai: Cooking for the Maiko House. But that is not fair to this series, which evokes almost a lost era even when we are reminded that all these events are happening now.
To Kyoto, Kiyo and Sumire travel to become maiko. But what is a maiko? Things are easily lost in translation. Early on, as these two girls begin their training in dance, which is called “mai,” the dance master insists that it be not called “odori.” Why nitpick? Why not? As with any other Japanese artistic pursuit, being a maiko or a geisha means you belong to an “Ie,” which can be translated into a “House” or “School of Thought.
How will Kore-eda Hirokazu, the poet of rawness in Japanese civilization, portray the maiko? Remembering his works like Dare mo shiranai , the 2002 film on child abandonment, which broke people’s hearts and questioned the level of humanity in a huge city like Tokyo, what bleakness and mundane cruelty will be in Makanai?
Unforgettable is Makanai despite its touchy politics. Or have you missed that conversation between Kyoko and her mother about whether WHO is looking at the exploitation of young girls in their house? Or when Mother , the older house mother, opens the door from her room to correct the two by bringing in the organization, Unicef?
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