Tao Okamoto as Mari comes into the story at the right time; she is an amazing tie-in for many in the film. She is able to be analytical and personable easily with everyone she comes in contact with. When she is on stage directing, she knows how to tap into others’ psyches by making them question their own perceptions. In this case, those who are challenged. By choice, her love of understanding radiates, filling a void not just for Marie Lou but also for the elders in the facility. She is a bright light in a sea of misalignment and dissatisfaction. She knows how to give others a new perspective or creative spark that moves them without fear or judgment. 

Kyôzô Nagatsuka is the heart of the film as he brings the overall narrative full circle. He breaks down the challenges the elderly and people with disabilities face with ease. He does so not by assigning blame or exposing a lack of understanding, but by forming a hypothesis that seems irrefutable (a huge testament to Hamaguchi’s writing and direction). Not only a seasoned actor and grandfather of a disabled young man, but Nagatsuka also uses his wisdom with Okamoto, even in her darkest moments as she battles cancer, offering her a space she ultimately gives to others. Nagatsuka works as the film’s philosophical prophet, and his position solidifies the magnetic beats that make the film a masterpiece beyond congruence. 

The Power of Touch

The thing about All of a Sudden and its overall scenery is that it is trying to convey a sense of realism. The cinematography is never performative or showy, which is lovely because most scenes are drawn out. There is so much dialogue that the cinematography needs to stay consistent to work properly, and it is done well, even in moments where characters have deep, meaningful conversations or are giving a monologue that draws the audience in without flinching or flexing. Some of the film’s best moments happen when the lights are dimmed. The scene with both Mari and Marie-Lou outside at night is beautifully lit and intimate, offering a lively perspective into their conversation. Some of the film’s darkest moments offer a deep, introspective look into the characters’ backgrounds, and Hamaguchi explores them well without rushing the scene or the scope. 

In the moments of light, patience makes the movement pop. Hamaguchi shows an understanding of the patients in the nursing facility in these moments. The movement is kind and spiritual in the name of caring and seeing others for who they deserve to be seen as. The way that those who inhabit the facility are just carefree with the cinematography and exposed lighting is something to be cherished. Hamaguchi wanted the audience to see them as more than elders but dreamers who are alive and have more to live for. In the moments of the film that are used to bring this point home, they often have a play-centered focus, which is his comfort zone. The production’s colors, alongside the scene blocking, reinforce Hamaguchi’s perspective and drive clear-cut storytelling by shifting the audience’s mindset about the elderly community. The immense empathy Hamaguchi brings through the production and cinematography is a great achievement that wouldn’t be achieved through the use of intense perspective. 

Closing Wounds

All of a Sudden is a directorial accomplishment for Hamaguchi. The immense empathy for seeing and telling the stories of elderly people is beautifully showcased, offering an unforgettable experience. Virginie Efira and Tao Okamoto deliver beautifully, offering an amazing meditation on friendship and selflessness. Kyôzô Nagatsuka works best as the film’s secret weapon and force multiplier, deepening our understanding of the elderly experience. Overall, it’s a fine achievement from Hamaguchi that deserves to be seen with those nearest and dearest.