
Still the Water
2014

2012
Director
Naomi Kawase
Runtime
91 minutes
Average Rating
No ratings yetSynopsis
Woodwork artist Takumi moves to the small village Asuka in Nara Prefecture. He remodels old homes and lives a peaceful existence with nature. Takumi then meets Kayoko, a woman who went to the same school as Takumi. Kayoko is fascinated with the color crimson. She dyes scarves with the color of hanezu. Kayoko lives with boyfriend Tetsuya, who works as an editor of a PR magazine. They live together. Soon, Kayoko falls in love with Takumi.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The story centers on a traditional romantic tension between Kayoko and Takumi. No non-cisnormative identities or same-sex intimacy are present in the plot.
Gender Representation
The film centers the female perspective and emotional autonomy. Kayoko’s agency is expressed through her connection to tradition and sensory experiences rather than patriarchal tropes.
Racial & Ethnic Diversity
The cast is culturally homogeneous, reflecting the specific Japanese setting of Nara Prefecture. This approach maintains high authenticity to the local environment.
Religious & Cultural Diversity
The narrative prioritizes a naturalist worldview and ancestral memory over modern structures. It emphasizes agrarian rhythms and a spiritual connection to the land.
Disability Representation
There are no prominent depictions of physical or neurodivergent disabilities. The focus remains on the sensory experiences of able-bodied characters.
Strengths
Areas for Improvement
AI Analysis
Naomi Kawase’s *Hanezu* functions as a meditative study of human emotion intertwined with the natural world. It avoids high-stakes conflict, opting instead for a sensory, observational style that prioritizes atmospheric storytelling and the quiet agency of its female protagonist. The film achieves progressive value by subverting traditional cinematic hierarchies. By elevating the internal life of Kayoko and focusing on a non-industrialized worldview, it disrupts the standard tropes found in commercial drama. However, the work remains culturally specific and traditional in its interpersonal dynamics. It lacks overt engagement with identity politics or radical social deconstruction, resulting in a score that reflects its localized, conventional romantic framework.

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