A woman with an adopted child is contacted unexpectedly by the child’s birth mother.
“True Mothers,” directed by Naomi Kawase, is a vulnerable perspective in exploring the concept of a mother. The film introduces the stories in three different arcs, starting with the love story of the Kuriharas and their tragic inability to conceive a child to expand their family. On the verge of giving up, the Kuriharas discover the possibility of adoption which moves the narrative further back to introduce Hikari, the infamous birth mother. Hikari’s own tragic circumstances lead into a final arc of reunion and reconciliation for all the parties involved, including their son Asato. The beauty of the film is that it does not exploit some of the real tragedies that permeate the behind-the-scenes narrative of childbearing in Japan, but the film instead chooses to highlight the gratification of overcoming different conflicts to find human connection and love.
Kiyokazu Kurihara (Arata Iura) and Satoko Kurihara (Hiromi Nagasaku) are a financially-accomplished couple in Tokyo, living a seemingly perfect lifestyle. They dine at fancy restaurants and navigate the city lifestyle with ease as Satoko completes her wifely duties alongside Kiyokazu who continues to work hard to be the provider of their small family. However, when they explore options for children, they discover that Kiyokazu is infertile. His capabilities as a man and provider are questioned and the couple falls into a limbo of dark contemplations as their treatments for infertility fail to assist in their efforts. The depth in Iura’s character is intimately tied to the Asian patriarchy and his performance as a self-doubting and insecure Japanese man reflects a heavy burden often found in Asian masculinity. However, Kiyokazu’s efforts to accept the alternative options of adoption despite its qualms in Japanese society is the stronghold of the character – and one that leaves a lasting impression.
On the other hand, Satoko is overtly portrayed as the Mother Teresa of the film. Not only does she later prove to be a genuine mother for Asato, but she is also like a mother to her husband. Nagasaku is brilliant in her performance as her character exemplifies the archetype of women who are expected to be the accepting, faithful, resilient, and still kind figure even as expectations are dashed and conflicts arise. There is no room for anything less than perfection for Satoko, which is a frustrating expression of the role of women in a patriarchal society. Yet, it is Satoko’s grace in which she approaches every conflict that creates the film’s inspiration. It is because of her strict adherence to an archetype of Mother Teresa that the film actualizes compassion and kindness for birth mothers who do not move forward in raising their children.
Hikari (Aju Makita) exemplifies a complete opposite to Satoko, in both circumstances, and in action. Hikari has no grace, a characteristic that is tied to her youth and naivete, and ends in an unexpected yet shameful pregnancy. The film uses youth as a victim, constricted by surrounding immature adults. Makita may be every much the image of the child that Hikari is, however, Makita also carries the presence of a child that had to grow up too fast, full of fear and tension. Hikari is eventually pushed off the edge into a vulnerable and tear-jerking climax, but it is Satoko’s visionary compassion that pulls Hikari to recover her place also as Asato’s mother. The implications of Hikari’s rogue status may come across as clichéd, but even clichés are a commentary on the ever-present realities in our societies.
“True Mothers” is genuine and moving, carrying an emotional weight to the three arcs as they come together in reconciliation. It is a film worth remembering, not necessarily for its plot but for the performances that exemplify a need for compassion and nonviolence in the already vulnerable narrative of adoption.
Now available on Video-On-Demand
