Director Naomi Kawase reflected on different women who were True Mothers in this sensitively told story about adoptive and birth mothers. She also showed how some mothers are mothers in name only while others who have no children of their own nurture those in their care with compassion.

Satoko and Kiyokazu find they are unable to conceive a child. When they see a service that connects mothers who can’t raise their child with mothers who want to raise a child, they contact Baby Baton. Hikari is a 14-year-old girl who becomes pregnant and discovers the fact one week too late to have an abortion. Her embarrassed and enraged mother sends her to Baby Baton to keep the news secret. Satoko and Hikari are destined to be connected in the past and future as their decisions change their lives.

Kawase had a solid story to tell, but it oftentimes drifted off into side stories or came across almost like a documentary told in non-linear style. The viewer followed Satoko and Kiyokazu as they traversed the emotionally and physically demanding road of infertility treatments and then through the arduous path to adoption. Teenaged Hikari went from being in love to being pregnant and emotionally abandoned by everyone she cared about. Kawase’s attention to detail was her strength and weakness. While gaining insight into the different people involved was important, I didn’t need to know everything that happened to every character in order to feel emotionally connected to them. At nearly 2 ½ hours, some of the more disparate stories could have been more judiciously edited.

The primary actors did a fine job. Iura Arata as the loving husband conveyed Kiyokazu’s grief at being unable to father a child. Kiyokazu’s raw drunken confession to a shocked friend revealed the depth of his despair. He was the lone male in this melodrama aside from Hiraki’s boyfriend who walked away without any consequences. But this film truly belonged to the women. Nagasaku Hiromi brought Satoko’s desire to have a child, protective maternal instincts, and generosity to life. Mikita Aju had the difficult task of playing Hikari from innocent teenager in love, to bearing the consequences alone not only before childbirth but afterwards as well. Her performance felt honest as the girl who wore the “In front of your eyes” T-shirt and feared being erased. I would have liked her story even more if Hiraki would have verbally shared how she felt about the pain of giving up the child she wanted as she aged and her feelings of desertion when her own mother so easily gave her up. Lastly, Asada Miyoko shined as the childless director of Baby Baton who nurtured the girls from different walks of life at her idyllic facility. Her compassion made a perfect contrast to Hikari’s cold mother demonstrating that being a mother doesn’t require a common DNA.

I wasn’t a fan of the overly blown out photography Kawase used. The continued bright gauzy effect began to strain my eyes. Normally, shots of architecture or natural scenery appeal to me, but many of her transition shots looked awkward and disconnected from the story instead of symbolic. I enjoyed the film's concept and acting, but the almost documentary style for much of the film sterilized the feelings it might have evoked otherwise. Despite my reservations this was a thoughtful meditation on the different expressions of motherhood. The topics and characters were broached in a respectful and empathetic manner that highlighted the sacrifices and dedication parenthood entails.

15 August 2024