Based on Natsuo Kirino’s homonymous novel, “Out” was Japan’s official submission for Best Foreign Language Film at the 75th Academy Awards and went on to receive a number of local awards, mostly for direction and Teruyuki Kagawa’s performance. At the same time, however, the adaptation is extremely loose, particularly due to its “Thelma and Louise”-like ending, to the point that the movie has very little to do with the book, especially in the way the story unfolds.
The narrative follows four women working the graveyard shift at a Japanese bento factory, all of whom live particularly harsh lives. Masako, essentially the leader of the group, feels completely alienated from her estranged husband and teenage son, despite the fact that they all live under the same roof and still expect her to take care of them. Kuniko, a rather unappealing woman, is obsessed with designer clothes, wears expensive makeup, and drives a fancy car, a lifestyle that has pushed her into severe debt, most of which is owed to Jumonji, a local loan shark.
Yoshie, whom the others call “Skipper” due to her efficiency at work, is a single mother and the reluctant caretaker of her mother-in-law, who was left partially paralyzed after a stroke. Yayoi, the factory’s belle, is a thirty four year old pregnant woman who is frequently abused by her drunken, gambling husband, Kenji. His issues do not stop there, as he spends all of the family’s money gambling in a baccarat parlor. During another night of heavy losses, he begins offending other customers, which leads the parlor’s owner, Satake, to beat him up. Exhausted and humiliated, Kenji returns home and resumes beating Yayoi, with the fed up woman eventually strangling him.
In desperation, Yayoi persuades Masako to help her dispose of Kenji’s body. Masako, in turn, involves Yoshie, while the snooping Kuniko also becomes entangled, sensing an opportunity for money despite the fact that no one wants her involved. As police suspicion regarding Kenji’s death begins to grow, after the body parts Kuniko was responsible for disposing of are discovered, blame falls on Satake. As a result, his life is effectively destroyed, setting him on a path of revenge against the women.
One of the most significant issues here, and one that appears fairly common among book adaptations of the era, is the attempt to introduce a comedic element into the narrative, which feels entirely misplaced given the nature of the story. At the same time, the way the plot develops, particularly in regard to Satake’s arc, often feels unrealistic, although the effort to avoid some of the more ambiguous aspects of the novel is arguably justified.
Despite these shortcomings, much of the work remains quite competent. The commentary on the position of women, and on how pressure exerted by the men around them leads to extreme choices, resonates convincingly, even if the approach occasionally becomes ludicrous. In addition, the financial hardship Japan faced during the post bubble era is clearly reflected, further increasing tension and allowing elements such as gambling parlors and loan sharks to flourish naturally within the narrative.
Moreover, the atmosphere of agony and occasional horror, which includes the extensive dismemberment sequence despite some forced attempts at humor, works particularly well overall. Especially effective is the moment when Satake emerges like a wounded animal, a presence that proves genuinely entertaining to watch. As the story progresses, the emphasis on female comradeship becomes somewhat romanticized, yet it leaves a pleasant aftertaste and functions effectively on an emotional level.
The performances are also consistently strong. Mieko Harada delivers a true tour de force as Masako, highlighting every layer of the character with remarkable intensity. Naomi Nishida is equally convincing as the naive Yayoi, while the chemistry among the four women, including Mitsuko Baisho as Yoshie and Shigeru Muroi as Kuniko, remains impressively cohesive throughout, with the karaoke scene providing the zenith. Nevertheless, it is the two central male performances that truly stand out. Teruyuki Kagawa portrays the street smart Jumonji who finds himself in over his head with gusto, while Kanpei Hazama plays the paranoid brute Satake in a manner that radiates danger in every look and movement.
Kozo Shibasaki’s cinematography captures the various environments with grounded realism, with both the dismemberment sequence and the final scenes standing out in particular. The factory interiors, where large groups of women are shown working simultaneously, are also especially effective. Meanwhile, Akimasa Kawashima’s editing results in a fast pace that occasionally feels rushed, but generally serves the narrative well.
Ultimately, despite its flaws and its significant departure from the source material, “Out” emerges as a competent and engaging work that conveys its thematic concerns with clarity while remaining entertaining for most of its running time.