‘Spirit World’: Busan Review

Dir: Eric Khoo. Japan/France/Singapore. 2024. 94 mins

Is there life after death? Are we all destined for a better world beyond the grave? Those are the matters that preoccupy Eric Khoo in Spirit World, a simple, sentimental tale with a tendency towards inoffensive whimsy. A closing night world premiere at Busan, it will also play Rome and Tokyo before a French theatrical release in late December (via ARP Sélection), where the star presence of Catherine Deneuve may enhance the film’s appeal to an older arthouse demographic.

A simple, sentimental tale with a tendency towards inoffensive whimsy

Almost 30 years after his debut feature Lee Pok Man (1995) opened Busan, Khoo returns with a film that contains elements of personal experience and involves key members of his family. Son Edward Khoo wrote the screenplay and another son, Christopher, is partly responsible for the gentle, piano-led score. Family is at the heart of a story that initially splits the focus between three characters.

In Japan, we are introduced to filmmaker Hayato (Yutaka Takenouchi). It is 20 years since his big hit ’Reminiscence Of Blue’. Now, he is drinking too much, sports a dishevelled appearance, and has hit a creative impasse. His elderly father Yuzo (Masaaki Sakai) heads to a bar to tune an old piano. His modest home groans with a vast collection of vinyl, including the recordings of his absolute favourite – French chanteuse Claire (Deneuve). In Paris, Claire is saying farewell to her beloved dog Leon. The animal’s passing prompts some philosophical musings on what might constitute a good death, conveyed through a voice-over delivered by Deneuve.

Seeking solace in her work, Claire accepts a concert date in Tokyo. Yuzo dies but his possessions include a front row ticket to her performance that Hayato now feels obliged to attend. Then, Claire’s sudden death after the concert leaves her in a spirit world limbo. “I was hoping for nothingness, a void,” she remarks. Fortunately, Yuzo is on hand to become her guide and companion in the afterlife, especially when these two lonely souls decide to accompany Hayato on a road trip to visit his long absent mother Meiko (Jun Fubuki).

Spirit World has a lot of plot to convey before it settles on a more reflective tone, as Claire and Yuzo grow accustomed to the strangeness of the afterlife and Hayato heads towards a greater understanding of his family ties. The film’s warmth is partly drawn from the cinematography of Adrian Tan, who captures appealing moments of coloured lights reflected in water during an evening stroll, vibrant autumn leaves, the vivid red dress Claire wears for her concert and a bright white lighthouse at Hayato’s journey’s end.

The film’s greatest asset is, however, its cast. After a lifetime of filmmaking, a regal Deneuve still commands the screen in a tailor-made role. Claire has playful elements of Deneuve’s off-screen persona, including her ability to keep smoking in every circumstance. Touchingly, Deneuve talks/sings her way through three songs written for the film by French singer/songwriter Jeanne Cherhal, that place Claire as a performer in the manner of a Juliette Greco or a Francoise Hardy. Deneuve effectively underplays Claire’s bewilderment and weariness with the world. Masaaki Sakai is a delight as Yuzo, investing his impish character with kindly patience and a generous spirit. His chemistry with Deneuve makes their scenes together a highlight.

The increasing focus on Hayato and his problems tends to push Claire and Yuzo to the sidelines of the story, but ultimately allow Khoo to create a more rounded tale of loss, love and just how precious a thing life can be.