Written and directed by newcomer Chie Hayakawa, and starring legendary actress Chieko Baisho (a recent FEFF Lifetime Achievement Award winner), Plan 75 is about a semi-dystopian future where a shocking solution to the problem of an aging population is proposed. Federico Gironi’s review of Plan 75.
Population aging is a problem. It is not only in Italy, but also in Japan, and in particular in miserable (agrarian) Japan Plan 75.
There is a problem of population aging for only one reason, which is often, unfortunately, the same as many real political inferences (hence goodbye dystopia), a purely economic one.
So Plan 75 – or rather its author, Chi Hayakawahere in his first film—imagine his government’s response to this problem is a form of state euthanasia, economically spurred on by the state, which, in dry, brutal words, more brutal than the one in the movie, takes away half of the elderly over 75 who , in ruthless consistency with the spirit of self-sacrifice that has always been encouraged in Japanese culture, they are willing to get out of the way, saving themselves from disease, loneliness, and economic troubles.
now, Chie Hayakawa’s is considered the most classic of theses films.
A film that starts from a strong hypothesis and argument and develops it by showing the obvious for show.
The story of the film revolves around the character of an old woman (legendary actress Chico Baishou) who agrees to undergo the programme Plan 75, offering an aging perspective, but also three young characters, all of whom recruit or manage the elderly within the programme. And they will be the ones who, following personal experiences that will force or push them to leave the sterile, institutional, career perspective in which they have been indoctrinated, to rediscover the value of human connection, life, and then the absurdity of the world they end up becoming cogs.
Everything is very clear, everything is very stated, clear, in Plan 75.
Everything is very readable for the viewer, who does not have to deal with symbolic or metaphorical levels, and who in the film is accompanied by clear and precise presentation.minimalist, associated (but not too much) with cinema Cor idato give an example of a director also known to us.
Everything is so constructed that it is humanity that emerges from the small gestures, from the glances, from the undecorated apartments of those who are about to say goodbye to the enormous little things that are the symbol (yes) of a whole existence, and which will end up in foreign hands, and treat at most as trash or as potential recycling material.
Of course, it’s not like he should come Chi Hayakawa To remind us how wrong, inhuman, contrary to all common sense, to treat the elderly as a burden, to put screens on the benches so that the homeless could not sleep there, or – more subtly – to consider foreigners in our country only according to the logical function of the system of work. She didn’t have to arrive, but remembering her—remembering that the economic-financial logic that seems to be the new absolutist dogmas of our age are so often willingly and not against humanity against humanity—certainly doesn’t hurt.
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