37 seconds (2019)

Thoughtful tale of self discovery

37 seconds centers around the life of Yuma, who has cerebral palsy. The story is very well written and touches many aspects of what it means to have a disability. Even though some happenings might seem over the top, the story still feels real and for the whole duration you're feeling with the main character. All the characters over different reactions to her disabilities and the director manages to showcase a positive movie that doesn't highlight the negativity of the disability and instead shows Yuma's journey to self discovery and independence.
The movie has its funny moments and touching ones as well. While the theme of erotic mangas might seem funny and weird, it's usage as a starting point for Yuma is well done.
The acting is very well and considering it is the first work of the lead actress, thanks to the script and production process, her character feels natural. The story was adjusted to the actress who has cerebral palsy in real life and contributed to the narrative of the movie by providing insides to her own experience.
I truly enjoyed the movie and can totally understand, why it won prices and the applause of the audience when it was first shown in a film festival.

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Don't Treat Me Like I'm Broken

Yuma Takada is a 23-year-old woman who suffers from cerebral palsey. However, she is also an extremely talented manga artist and writer. An arrangement is made with her friend, as they publish a well-known manga series, but her friend, Sayakara gets all of the credit (despite not being an artist or a writer) even though Yuma gets some payment for the job.

Yuma lives with her loving but overprotective mother who treats her more like a 10-year-old. She doesn't like Yuma going out on her own or wearing dresses as "there are too many creeps out there."

Having had enough of the oppressive lifestyle where she is used and abused, she attempts to fight for her independence. Finding some discarded adult manga books, she calls the various publishers to find out if they have job-openings. She's called into the offices of one, asking that she submit her work. Having had no sexual experiences of her own, Yuma's asked to come back when she has some so that her stories will be more authentic and realistic.

Yuma tries in vain to acquire some sexual experiences by going down to the red-light district on her own. Of course, things don't go as she planned, but she does meet a high-priced escort in Mai, who encourages her to live and enjoy life. Mai ends up being Yuma's window of opportunity toward a life of freedom as she is arguably the first person to treat her as a normal human being.

This drives a deeper and wider wedge between Yuma and her mother, who finds out what Yuma has been doing. Yuma eventually runs away but is taken in by Toshi, Mai's driver. Yuma decides to try and find the father that she never knew, and in doing so, finds yet another family member she had no knowledge of. This also gives the viewer the answer to the significance of 37 seconds, which is revealed in a beautiful scene.

People are often uncomfortable when dealing with people with disabilities, not realizing that they are people just like anyone else. They have the same thoughts, dreams, feelings, and goals. But most people treat them as though they are broken. We end up cheering for Yuma as she fights for her own freedom with as much determination as when she's forced to crawl across the floor in order to get from one place to another. The point is, she can do it. She can do many things if people would simply give her the opportunity.

This is one of the most delightful films I've seen in a while that is completely character-driven. Actress Mei Kayama gives us a Yuma who as the voice of pure sweetness and the heart of a lion. She doesn't want protection. She wants to live and be who she is, and who has the right to keep her (or anyone!) from fulfilling her goals?

The film iis heartfelt, but it isn't bogged down in melodrama or at risk of being too sentimental because the goal isn't to make the viewer feel sorry for Yuma. The goal is to make the viewer cheer Yuma on, and writer-director Hikari gives us that kind of a movie.

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