“SUZE”
In the film SUZE, Michaela Watkins delivers a standout performance as Susan, a woman whose life unravels in unexpected ways. At the film’s outset, Susan confronts a painful betrayal when she discovers her husband cheating on her with his tennis instructor. As if this weren’t enough, her emotional landscape shifts dramatically when her daughter departs for college, leaving Susan and her boyfriend, an ostensibly goofy yet endearingly awkward character named Gage, to navigate the quiet loneliness of an empty house. With her daughter now distant and her phone calls unanswered, Susan finds herself grappling with a profound sense of isolation and disconnection from the world around her.
The narrative takes a turn when Gage ends up in the hospital. In the wake of this crisis, Susan becomes his caretaker, setting the stage for an unlikely and deeply human bond to develop between them. Their evolving relationship is portrayed with a delicate balance of vulnerability and humor, as both characters, despite their flaws, find solace and understanding in one another.
While SUZE is clearly a small indie production, its strengths lie in its exceptional performances and rich character development. Watkins embodies Susan’s inner turmoil with remarkable vulnerability, infusing the character with moments of unexpected charm even as she navigates her own guarded demeanor. Her portrayal makes it easy for audiences to understand why those around her might be drawn to her complexity, despite her initial appearance of coldness and toughness.
At first, I was unsure about Gillespie’s performance as Gage. However, as the film unfolds, he transforms into a multi-dimensional, lovable character whose quirks and earnestness gradually won my empathy. The dynamic between Susan and Gage grows organically, inviting us to root for both characters as they seek connection and healing in the wake of personal setbacks.
”SUZE” is a heartwarming crowd pleaser and exactly what I needed.
SUZE is now available on VOD.
“Okiku & the World”
Okiku and the World (2023), directed by Junji Sakamoto, is a film of stark contrasts — equal parts grotesque and beautiful, off-putting and heartwarming, humorous and deeply tragic. Set in late 19th-century Japan, the story follows Okiku (Haru Kuroki), a young woman living with her father in a rundown tenement. Their lives intersect with Yasuke (Sosuke Ikematsu) and Chuji (Kanichiro), two men who collect and sell human waste as fertilizer. Amid the squalor, a fragile yet sincere romance begins to blossom between Okiku and Chuji, challenging rigid social structures and along class lines.
Sakamoto crafts a world that is both visually stunning and viscerally unpleasant, using stark black-and-white cinematography that occasionally bursts into color. The detailed period setting immerses us in a time when survival often overshadowed dignity, yet human connection still found a way to flourish.
The performances are raw and compelling, with Kuroki portraying Okiku’s journey from guarded resilience to unexpected tenderness. Kanichiro’s Chuji is both endearing and pitiable, a man caught between his circumstances and his desires. Together, they bring emotional depth to a love story rooted in filth but filled with surprising grace.
What makes Okiku and the World so striking is its ability to find beauty in the repugnant and warmth in the bleak. It’s a film that lingers, leaving us unsettled yet oddly comforted — an unforgettable exploration of love, survival, and the contradictions of human existence.
