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We Make Antiques! Kyoto Rendezvous

Name: We Make Antiques! Kyoto Rendezvous
Director: Masaharu Take
Released: 2020
Duration: 106 min

Representation Score

4.5/10

Fair

2020

Director

Masaharu Take

Runtime

106 minutes

Average Rating

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New Showbiz Analysis

The film primarily serves as a culturally specific comedy set in the Kansai region. It emphasizes traditional Japanese social structures and historical aesthetics over the deconstruction of globalized identity politics. While the addition of a female character introduces potential for gendered interaction, the narrative remains largely conventional. The focus is on the intersection of antique dealing and tea ceremony culture. Overall, the work lacks explicit evidence of multi-layered diversity or the disruption of traditional hierarchies, resulting in a moderate diversity profile.

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Category Breakdown

Does We Make Antiques! Kyoto Rendezvous have LGBTQ+ representation?

Limited

The film does not include any explicit mention of LGBTQ+ characters or non-straight relationships. There is no clear evidence of queer narratives within the main storyline.

How does We Make Antiques! Kyoto Rendezvous portray gender?

Fair

The introduction of Shino, a mysterious new woman, challenges the previously male-dominated dynamic between Noda and Koike. She brings the potential for a significant role in driving the story.

How racially and ethnically diverse is We Make Antiques! Kyoto Rendezvous?

Fair

The story focuses on Japanese cultural specifics, centered around Sakai and Kyoto. The cast reflects local demographics without incorporating broader diversity.

How does We Make Antiques! Kyoto Rendezvous represent religion and culture?

Fair

The narrative heavily engages with traditional Japanese institutions such as the tea ceremony. It examines the tension between historical mastery and the opportunistic nature of antique dealing.

Does We Make Antiques! Kyoto Rendezvous include disability representation?

Minimal

There is no evidence of characters with visible or invisible disabilities included in this work.

Present on Screen

Strong engagement with traditional Japanese cultural practices and historical settings.
Potential for gendered ability to act through the introduction of the character Shino.
Exploration of moral relativism through the crime-comedy genre.

Limited or Absent

Lack of explicit LGBTQ+ representation or queer narratives.
Limited diversity beyond the local Japanese demographic.
Absence of visible or invisible disability representation.

Official Synopsis

The central Kansai region of Japan is the setting for the historic cities of Sakai and Kyoto. Noda and Koike from We Make Antiques are back and together for the tea ceremony by Furuta Shigenari who is the master of the ceremony. Enter a mysterious new woman named Shino about whom the two have a feeling.

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