Rei (2024)
The title of Tanaka Toshihiko’s ambitious exploration of human relationships is polysemous. A genderless given name, the kanji character can similarly represent a variety of meanings. As such, it’s the perfect symbol for this portrait of early thirtysomething company employee Matsushita Hikari. Her life is stable and seemingly without worry, unlike many of those around her. But it’s through their struggles that they find their counterparts in life – the balance in relationships that steadies them. Hikari lacks this ballast and this begins to worry her. However, on a trip into the mountains of Hokkaido she encounters a Deaf landscape photographer, Masato. Through him Hikari embarks on a journey that will transform her sense of being and connectedness with the world.
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