Mrs. Noisy

©Mrs. Noisy production committee

Writer’s block is a hard thing to get right on screen; by its very nature it is un-cinematic. Mundanity and inactivity becomes routine, the artist slipping into a void before a catharsis reminds the audience that inspiration is everywhere. Mrs. Noisy, the latest work from Japanese director Chihiro Amano, doesn’t necessarily serve to investigate the concept of individual inspiration, but rather the consequences of not seeing the bigger picture.

Maki Yoshioka (Yukiko Shinohara) is the tortured artist here; an author who has struggled to replicate the success of her award-winning debut novel. After relocating with husband Yuichi (Takuma Nagao) and six-year-old daughter Nanako (Chise Niitsu), Maki hopes the change of scenery will awaken her creative spirit. Before long, she finds herself in an argument with Miwako Wakata (Yoko Ootaka), her next-door neighbour who mercilessly beats a futon in the early hours of the morning. After a sustained back-and-forth, the spat becomes a viral sensation, plunging both into a media storm that eventually gets out of hand.

Unsurprisingly, the film is as muddled as it sounds, flickering between ideas that are rarely fleshed out. The depiction of Maki’s artistic slump feels uninspired and vague, failing to offer any insight into her previous work or what made her first work so beloved. Instead, time is devoted to an unnecessary side-plot involving Maki’s cousin selling autographed copies of her work — a far more interesting theme would’ve been a dissection of the author, akin to Deconstructing Harry.

Thankfully, the film improves markedly when Miwako’s version of events is told, showing that there normally is two sides to every story. She works for a pittance at a local food plant, before returning home to care for her mentally ill husband; the futon, it seems, is the perfect tool to banish her inner angst. Amidst all this, she forges a bond with Nanako, providing the child with the warmth and care she craves from her mother, producing some tender moments in an otherwise hectic film.

As the conflict progresses, the stakes are inevitably raised, with both parties being forced to deal with the knock-on effects. Though there are some well-observed satirical jabs at the media, both Yuichi and Nanako feel sidelined, a decision that feels understandable from a thematic standpoint but leaves the finale feeling a tad unbalanced. Even though the tonal shifts are a little jarring, Miwako’s likeability means the emotional beats do carry some power, with Ootaka’s fiery performance being a clear standout, a feat made more impressive by the fact that it is a debut role.

Nevertheless, it’s unfortunate she, along with Yuichi, isn’t given more screen-time, for the film would be all the better for it. Amano, to her credit, is ambitious with her thematic concerns, but a generic lead character squanders the potential, proving to be too big an obstacle to overcome. Whilst the bigger scope may be admirable, Mrs. Noisy would benefit from being streamlined, focusing on the quieter moments that - at least by the end of the film - both characters crave.