Writer and director Yôko Yamanaka presents a thought-provoking narrative on the perils of mental illness in Desert of Namibia. Kana (Yumi Kawai) lives an ordinary life with her boyfriend Honda (Kanichiro) in Tokyo. She works at a local laser hair removal clinic and has an affinity for cigarettes. Kana’s anxiety and mental health spiral after Hayashi (Daichi Kaneko), the man she is having an affair with, tells her to leave Honda. Dissatisfied with her life and lack of fulfillment, Kana navigates a desert of emotions.
Yamanaka’s screenplay focuses on the mundane elements of life and the ruminating thoughts that disrupt it. Kana’s internal conflict between reality and her skewed perceptions becomes blurred as the story progresses. The filmmakers’ “day in the life” approach brings Kana’s struggles with loneliness, self-doubt, and anger to life.
Kana’s trauma stems from unresolved issues with her father, complex romantic relationships, and an overall dissatisfaction with her life. Her sense of inferiority is so strong that she feels angered and threatened by Hayashi having hobbies and interests that don’t involve her. As Kana experiences these emotions and panic attacks, Desert of Namibia effectively uses silence as a narrator to create a voyeuristic feel that is too tempting to resist.
Yumi Kawai plays Kana, a young woman struggling with mental health, in Desert of Namibia, directed by Yôko Yamanaka.
“Kana’s anxiety and mental health spiral after Hayashi, the man she is having an affair with, tells her to leave Honda.“
Everything in this film works well to create Kana’s world. The soundscapes of busy streets and chirping crickets add to the immersion as we peer into her mind. The camera effortlessly follows her in long takes, making the most unremarkable settings engaging while the cinematography and score work together to build an atmosphere that evokes the right emotion.
As Kana, Yumi Kawai demonstrates a keen ability to convey emotion via a subtle smirk or contemplative expression. Even a simple task like smoking a cigarette in the rain is captivating in her hands. She captures the viewer’s interest and does not let go from start to finish.
In Desert of Namibia, Yamanaka finds the perfect metaphor for her subject. The film is aptly titled, capturing the profound isolation and disorientation of mental illness—a journey that feels as vast, perilous, and lonely as being lost in a desert. Due its unflinching honesty and masterful filmmaking, this is a challenging, unforgettable, and essential film that I cannot recommend highly enough
"…a challenging, unforgettable, essential film..."
