SXSW (Short) Review: JUNKO’S SHAMISEN

There are few topics as old and time-tested for endurance as the revenge story. JUNKO’S SHAMISEN is yet another case of how such a common story concept can repeatedly be used and kept fresh and entertaining. Filmmaker Sol Friedman has managed to effectively evoke a multitude of cinematic influences into roughly 10 minutes of highly stylized coolness, while avoiding any inkling of excess.

This short film draws upon a number of influential films and other cultural mediums, including anime and comic books. There is a flavor of KILL BILL in the cinematography and visual design, which is in turn to suggest a flavor of various old school films of the samurai/martial arts genre.

Written, designed and directed by Sol Friedman, he flawlessly integrates traditional cell animation, 2D “cut out” style set animation, comic book dialogue bubbles and even a bit of stop-motion to round things out. All of this is woven into the live action base of the film, which leaps off the screen with vivid color, depth and texture. A nod also goes out to Vinit Borrison for the film’s cinematography.

JUNKO’S SHAMISEN is a quiet story about a young girl named Junko (Clemence Wong) and her blind grandfather. They live a quiet, simple life. Junko’s grandfather plays a three-stringed instrument called a shamisen, but when the ruthless Lord Yamamura (Benny Min) shows up to collect his tax, Junko’s grandfather (David Fujino) pays the ultimate price. Junko comes out of her shell and embarks on a vengeance mission, deceptively contradicting her petite and unthreatening visage.

To say this is a quiet story is not to suggest boredom and a lack of intensity. JUNKO’S SHAMISEN packs a wallop without forcing it upon the audience, which says a great deal about Sol Friedman’s mastery of his craft. Shots are carefully planned, pacing and the edits are meticulously calculated. The story of Junko’s revenge is simple and sweet, but also brief and beautifully brutal.

The best part of the whole film is the ending, whereas the story leads up to and hints subtly toward, nailing the tenderly twisted essence of JUNKO’S SHAMISEN one final, glorious time. Yes, a film can be both sick and sweet at the same time, and this film is the proof.

As satisfying as this short film is, I see Sol Friedman getting the attention of some very high heads in the biz and if he doesn’t, well… that’s really a shame! JUNKO’S SHAMISEN serves as the calling card of a talented filmmaker with a keen sense of cinematic style and craft.