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Kai (Hideki Nagai) runs a small photographer's studio, where he specializes on portraits and on touching up pictures - and he's really good at it, too. But his personal predilection is photographing insects - so it'*s totally in character that he has a praying mantis as a pet. He's also a total loner, and especially can't communicate with women, ever since his mother has died of child birth giving birth to him, really. Then one day when he's out in the woods looking for insects to photograph, he instead finds beautiful Kyoko (Itsuki Otaki), who has fallen out of a tree taking pictures of herself for her social media feed, which is her main source of income. Kai helps her back to her feet, literally but also figuratively, by taking beautiful pictures of her then touching them up, and a thank you she's taking him out to dinner - a rather awkward date as he has no idea how to talk to women. And apart from his photographic skills that's probably exactly what draws her to him, that he doesn't constantly try to impress her and get into her panties, and eventually she moves in with him - even though they can mostly communicate through one of Kai's regulars, Saijo (Toshiaki Inomata). But Kai continues doing for Kyoko what he does best, taking beautiful pictures of her, then touching them up so her scars can no longer be seen. Thing is, Kyoko's losing followers of late, and with followers also sponsors, so eventually she decides to not have her pictures touched up anymore and proudly show her scars - which gets her back into her followers' favours thanks to her "courage" - but scars do heal, and that puts her popularity on the brink again. So she can only think of one way for keeping her scars as fresh as on the first day, and that's the beginning of a dangerous downward spiral ...

Woman of the Photographs most certainly is a movie very unlike everything else out there, a blend of rather innocent romance and pretty visceral horror, but with bits of biting social commentary thrown in inbetween, all told on a deliberately slow pace in an avant-garde way. What makes this film though is that it takes its time to tell its story in a rather spectacle-free way, concentrating on its main characters and their odd relationship to both one another and their own respective self instead - which sure makes for an unusual but also very fascinating watch.

review © by Mike Haberfelner

 

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