Komatsu Nana is Matsuri Takabayashi in The Last Ten Years, a film by director Michihito Fujii (Day and Night, The Journalist, Yakuza and the Family…) based on the novel Yomei 10 Nen by Ruka Kosaka which was published in December 2017. Distributed by Warner Bros Japan, the movie was released in Japanese theaters on March 4, 2022 and became a big box office hit, the success story continues in Thailand and Taiwan where it reached the hearts of many viewers.
Plot (by Asian Wiki): 20-year-old Matsuri Takabayashi learns that she only has 10 years to live due to an incurable disease. She decides to not dwell on her life and not to fall in love, but she meets Kazuto Manabe (Kentaro Sakaguchi) at a school reunion…
The Last Ten Years is not your average tearjerker and it’s not just the sad tale of a young woman hit by a cruel fate, it is also a celebration of courage, friendship, family love, romantic love, a celebration of life.
Enhanced by her co-star and a wonderful supporting cast, Nana Komatsu delivers the goods. She has reached a formidable level of maturity and is now in full control of her craft as a tragedian…
Warning: Spoiler Ahead
As the end draws near, Matsuri browses the videos she recorded on her portable camera and deletes then, except one. Then as she gradually falls unconscious comes a flow of happy memories mixed with a reverie of what could have been had life given her enough time. Because of the way it is filmed and because of the contrast between the joy of those visions and the gravity of the moment, this scene is possibly the most powerful and heartbreaking scene…
One thought on “Pictures of Matsuri”
“She has reached a formidable level of maturity and is now in full control of her craft as a tragedian…”. Yes, this is absolutely true and I actually think she’s by far the most versatile actress of her generation, somehow reminding me more and more of a young Asano Tadanobu.
After her wonderful performances as Miki, Satsuki and Hijiri, she once again raised the bar with this majestic portrayal of Matsuri. Her eyes and face are so genuinely expressive at every single moment of every single scene, even the shortest and silent ones (like, look at her in the one with the newborn baby!). She can do just so many different nuances and shades, all sorts of lights and shadows, that her acting can never look stale, sly or predictable.
I knew Fujii would be a good director for her but what they created together, with a huge help from the writing and all the other lovely cast members, was way more beautiful, deep and artistic than what I was expecting from a project like this (undeniably better than Ito and in my book less pretentious than HanaKoi).
Now let’s just hope that rumor involving her and MR is not fake news 🙂
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