Many people have no doubt often wondered what might have been when reflecting on past lovers or near-romances. They can sometimes linger for a lifetime resulting in feelings of profound regret. There are some people though that take such matters into their own hands and vow to get some closure before it’s too late. One of those people is 75-year-old Icelandic man Kristófer (Egill Ólafsson), the main character in this moving romantic mystery set across decades, history and cultures.

Kristófer is suffering from the onset of dementia during the early days of the coronavirus pandemic. His doctor advises him to deal with any unfinished business before it’s too late. He was probably talking about bills, taxes and making a will but instead Kristófer wastes no time and decides to track down his ex-Japanese girlfriend Miko (Kôki) who suddenly disappeared when his younger self (Pálmi Kormákur) was a student in London in the rebelious late 1960s, and working in her father’s restaurant.

Other than knowing it was something to do with the main character’s ex-Japanese girlfriend I knew nothing else going into this film, and as the story began to unfold I started to think that maybe I could even review it in the very occasional films inspired by Japan series on Tokyo Fox. As it was though, a sufficient amount of the movie ended up being set in Japan in the latter stages which justified including it in this series instead.

Warning: Contains spoilers!

The story is presented in chronological order in multiple languages (Icelandic, English and Japanese) and takes its time to unfold as it jumps back and forth between 1969 and 2020. In the former, the younger Kristófer is looking for work in London as he no longer wants to study at university. He sees a sign outside a Japanese restaurant advertising for help so he goes in and sets up an interview and then bumps into the owner’s daughter on the way out. There’s no turning back after that!

Miko’s father tells Kristófer that his family are from Tokyo early on in the movie but as the inevitable romance blossoms, Miko later reveals that they’re actually from Hiroshima and due to discrimination back home they moved to London and started a Japanese restaurant simply called Nippon.

This offers a real insight into certain stigmatisms that Japanese society can have, and how it can affect one’s upbringing and destiny. In this case, it’s about hibakusha; the survivors and people affected by exposure to radioactivity caused by the atomic bombings in Hiroshima and Nagasaki in August 1945.

This all adds an extra layer to the story as it’s a stark reminder that many innocent citizens born in the aftermath of the atomic bomb attack were affected for a long time afterwards. Miko’s mother was pregnant with her during the latter days of WWII and the generational trauma of the blast continues to haunt their family, particularly her father.

The examination of lost connections and the longing for reconnection will resonate with many and that ought to make the film more universally appealing. Naturally, there are some imperfections such as failing to explore Kristófer’s dementia beyond what was introduced at the start of the film. Also, one would’ve thought that he may have been slighly incensed in the wake of the movie’s later revelations.

In terms of social etiquette, Kristófer seems to only talk on speakerphone when using his smartphone or is that fairly normal in the western world these days? Maybe I’ve been in Japan too long where such actions never happen! There is one funny scene where he gets told by the waiter in a London hotel dining room that he can’t use his phone even though he is the only guest staying there at the time as it’s set in the early months of 2020. He also wears his face mask incorrectly below the nose but one does have to remember that this is set during the early days of Covid_19 when many people weren’t yet too aware or nervous about such dangers.

It is a well-structured movie that is easy to follow as it goes back and forth to a time that is relatively ignored by the majority of film and TV producers. It may be quite slow for some people but for those with an interest in enduring cross-cultural love, it strikes an emotional chord and is a fully engaging production with a real warmth to it which draws you in.

Tokyo Fox Rating 8/10