Kôji Fukada’s ‘Nagi Notes’: A Fragmented Yet Resonant Portrait of Art and Connection

Kôji Fukada’s “Nagi Notes” unfolds like one of its central sculptures—slowly chiseled, revealing layers of meaning beneath its surface. The film feels as though Fukada is methodically peeling back the layers of his characters, sometimes with bold strokes that expose profound truths, and at other times with hesitant, tentative cuts that leave its purpose uncertain. It’s as if he’s still shaping his vision, exploring the contours of each character without a clear endpoint in sight.

While “Nagi Notes” lacks the cohesive impact of Fukada’s acclaimed “Love Life”, which premiered at Cannes in 2022, it still lingers in the mind. This low-key drama about belonging and connection may feel understated, but it finds its pulse in the moments where it zeroes in on the labor of creation and the relationships forged through it. The film’s most compelling scenes are its intimate sculpting sequences, where the chaos of the outside world—literal explosions included—fades into silence, leaving only something raw and deeply resonant.

The story follows Yuri (Shizuka Ishibashi), an architect from bustling Tokyo, who visits her friend and former sister-in-law, Yoriko (Takako Matsu). Yoriko lives in Nagi, a rural Japanese town so small that its local radio station broadcasts funeral announcements for every resident who passes away. Yet even in this quiet corner of the world, the echoes of global conflict intrude. The film is set against the backdrop of recurring military exercises in the area and the distant but palpable impact of the war in Ukraine on this isolated community. Despite these tensions, life persists, and Yuri and Yoriko begin to unravel their shared and individual sorrows while contemplating what lies ahead.

As Yuri becomes the muse for Yoriko’s latest sculpture, the film settles into a rhythm of slow, unhurried conversations. Their exchanges are laced with humor and gentle ribbing, avoiding the competitive edge seen in films like Steven Soderbergh’s “The Christophers”. Instead, “Nagi Notes” aligns more closely with Kelly Reichardt’s “Showing Up”, focusing on the process of creation rather than dramatic breakthroughs. There are no sudden flashes of inspiration here—just the authentic, gripping process of something emerging from nothing, charged with emotional weight.

The sculptures themselves are meticulously crafted, but it’s the dynamic between Yuri and Yoriko that truly captivates. Even as the film maintains a slight distance from its characters, their interactions feel immediate and alive, grounding the story in a quiet but undeniable humanity.