‘Egoist Review: Surprising Plot Twists Steer Steamy Gay Melodrama Into Maudlin Territory

From ancient philosophers to Drag Race host Ru Paul, self-love and love for others are inextricably linked. We must put ourselves in a place of solid self-love to allow someone into our lives. At first glance, this is the basic premise of Daisha Matsunaga's novel The Egoist (hence the title). But instead, it highlights how this satirical Japanese drama about a gay man in his 30s dealing with moodiness, love and loss rarely deviates from the ready-made ambiguity that mars a well-intentioned narrative.

Based on the autobiographical novel of the same name by the late Makoto Takayama, The Egoist follows the story of Saito Kosuke (Ryuhei Suzuki), a magazine editor, whose perfect life revolves around a perfectly decorated apartment, fast-paced work, fast fashion and photography. A closet full of beautiful designer clothes and a group of gay friends who he gets along with easily. But from the beginning of the film it becomes clear that there is a dark cloud hanging over his life. He is still haunted by the loss of his mother many years ago. The lack of a love life confuses him.

So he hires Nakamura Ryoto (Hugh Miyazawa), a young and attractive personal trainer. Their chemistry is evident from their first meeting, and their romance is captivating because it has been kept secret (it's best to keep Ryouta's mother in the dark about their relationship). Their budding relationship is soon in full bloom, as shown in a gorgeous telegraph montage, and the more elegant and wealthier Kousuke almost takes the young Ryouta under his wing.

But in the first of many insurmountable (but quickly overcome) obstacles that will stand in their way, Ryouta is embarrassed to share the secret of his life that he fears he can't handle. It is best to keep the secret intact. But it forces both halves of the couple to rethink what they want from life and from each other.

Ryouta's narration is burdened by a claustrophobically placed handheld camera that serves to dampen the emotions both actors are able to conjure. Matsunaga presents this very important first scene in a strange way that makes it difficult to comprehend everything that follows. As Suzuki and Miyazawa try to bring their characters to life, the script and cinematography constantly combine to make these two young men look and feel two-dimensional, with only bright smiles or dark groans, with little in between.

Matsunaga flirts with melodrama, never quite striking the right tonal balance between the seriousness of his sunny romance and the more poignant tale of pain he creates, especially when Kousuke meets and falls in love with Ryota's mother (Yuka Nakamura). . After such emotional drama, the final surprise of the film's third act is largely undeserved. That's because much of the dramatic tension that fuels Kosuke and Ryuta's romance remains somewhat fluid, with each revelation and complication resolved so easily that the narrative and emotional stakes feel almost incidental.

So, while the film hints at some sordid themes about openly gay life in Japan and how pain surrounds you and colors your world, The Selfish is still a fairly quiet film. The film suffers from a serious tone that is only broken in scenes with Kousuke's friends, whose small conversations open up the world of selfishness in a good way - only to be sidelined in favor of awkward interactions between the lovers, and later between the two men. And Ryota's mother. (The sex scenes, many of which "Selfish" boasts, are shot so tightly that even when they're supposed to show the kind of hungry desire that Matsunaga's camera could never capture, they come off as woefully incompetent.)

With its erratic pacing and soap opera-like twists, Matsunaga's film feels like a well-intentioned tragic love story designed to touch our hearts. But the film weaves its threads together well, and like Kousuke's apartment, the elegant décor makes it all the more fascinating.

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