吉田恵輔監督『ミッシング』(2024)
シアタス調布にて鑑賞。
子の失踪が揺るがせる夫婦の絆、家族の信頼関係、そして報道の倫理ー
失踪という不確定さによって、感情の置きどころが全く分からなって彷徨い続ける母親・沙織里(石原さとみさん)の、「これは娘と関係するかもしれない」とあらゆる事態や事象にセンシティブになって震撼する姿が、ほんとにギリギリのラインのお芝居のようで圧倒された。ギリギリのラインというのは、役者は役者なのだけれど、役というものが一旦捨て去られるほど、役者自身の生身の心身にダメージが与えられるかもしれない危機的な感情表現のあり方のこと…その傷みを痛いと感じる観客である我々の視線はもしかしたら、
失踪した美羽のそれと重ね合わせられるのかもしれない。
青木崇高さん(豊役)の言葉を詰まらせる、或いは言い直す/謝るというお芝居と演出も素晴らしかった。
Missing (2024) directed by Yoshida Keisuke
Watched at Cinemas Chofu.
The disappearance of a child shakes the bond between a husband and wife, the trust of a family, and the ethics of journalism.
The mother Saori (Ishihara Satomi), who is lost and unable to place her emotions due to the uncertainty of the disappearance, becomes sensitive to every situation and event, and is shocked by the fact that "this may be related to my daughter." It was a truly edge-of-the-line performance that overwhelmed me. The edge-of-the-line refers to a critical emotional expression that may cause damage to the actor's own physical mind and body, to the point that the role is abandoned, even though the actor is an actor... Perhaps our gaze as the audience, who feel the pain, can be superimposed on that of the missing Miu.
The acting and direction of Aoki Munetaka (Yutaka), who chokes up his words or repeats them/apologizes, were also wonderful.
