(C)2019 CHIWAWA Chang PRODUCTION COMMIIEE(TOEI VIDEO, VAP, KADOKAWA, GEEK PIKTURES, TOEI ADVERTISING)
Some people go to the cinema for enjoyment, and those people would do best to steer clear of Chiwawa. This is a hedonistic assassination of a character told through the eyes of observers, each with their own motivation. Based on the manga by Kyoko Okazaki, Ken Ninomiya adapts this cruel tale with particular sense of style that has a series of players drag the protagonist through the muck, yet has the audience judge those speaking. Inspiration has been drawn from real life and popular culture to present this tale of a young woman chewed up and spat out by the system and people around her. A club the characters frequent is known as Sedgwick, a clear nod to Edie Sedgwick, a star of Andy Warhol’s short films who became dubbed an ‘it girl’ and died at the age of 28. The tale told in Chiwawa is also reminiscent of the fictional Laura Palmer from Twin Peaks, as we delve into her life we discover seedy truths of the world she inhabited.
We find out very early on that the titular Chiwawa (Shiori Yoshida) – actually named Chiwaki, but goes by Chiwawa in reference to the small feisty dog – has been found murdered and her body chopped up. Through flashbacks and recollections, we are given glimpses into Chiwawa’s fast paced party lifestyle. When we first meet her, she is introduced to a group of friends via her new boyfriend Yoshida (Ryo Narita). She comes across as try hard and loud, but soon earns their respect by spontaneously stealing a purse containing a large amount of money.The group click, and that’s when we fast forward to her murder.
From here we follow one of the group, Miki (Mugi Kadowaki), where we discover some time has past between their initial meeting and Chiwawa’s murder. Miki sets about reconnecting with her old gang, while trying to piece together the missing parts of Chiwawa’s life. With each interaction she learns something new and shocking. The interesting, and most important narrative structure of the film, is that Ninomiya sidesteps pointing a finger of blame towards an individual character. Each account of Chiwawa’s life shows her as being a willing participant, while at the same time detailing how those around her fail to see, or refuse to acknowledge, her self destructive lifestyle. Miki herself seems to be on the same course as Chiwawa early on, but manages to escape the indulgent atmosphere. It is only when, after securing a modelling contract, Chiwawa is confronted by talkative photographer Sakata (Tadanobu Asano), who manages to break down her unflinching positive persona, but like so many others he soon uses this to his advantage.
There are moments in Chiwawa where the editing can be almost nauseating as it frantically darts about to capture the party atmosphere. Although jarring at first, it soon becomes apparent that it is the perfect way to assemble this mishmash of individual outlooks and hodgepodge of memories. Not one character has the full story, and the frenetic style accounts for drunken nights out and blurred lines. The pace calms when necessary, especially as the film reaches its understated climax.
Chiwawa is blessed with a series of well written characters and stunning performances. It’s rare a film is so well developed that the same story could be told from just about any individual character’s perspective, and even rarer that a director can join so many strands in such a coherent way. Yoshida shines at portraying a strong, bubbly, and independent character whose vulnerability, susceptibility, and dependence is all under the surface. Chiwawa is a painfully wonderful fable about the dangers and pain caused by yearning for acceptance in a world that constantly hammers home how important being cool is. Whether it’s the truelife tale of Sedgwick, the fictional life of Laura Palmer, or the lyrics to Elton John’s Candle in the Wind, Chiwawa reminds us how the world of popularity and acceptance is a dangerous and cruel place for women.
Chiwawa was reviewed at the 2019 Fantasia Festival.
