Makanai: Dans la cuisine des maiko

I've been inside the homes of 3 elderly Japanese women (one in Okinawa and two in the U. S.) and they all had that "organized chaos" feel. LoL! Books and knick knacks stacked to the ceiling, yet they knew exactly where to find things. I love the innocence conveyed by Kiyo and Sumire. I enjoyed the details shown when Kiyo was preparing food and how impressed everyone was with her offerings. The most touching part for me was when the man ate Kiyo's rice ball and said she must be emitting something from her hands (for it to taste so good). What a profound compliment. I cried so hard at that part.

The series is really different from anything I've ever watched. Somehow it resembles more the Japanese lifestyle YouTubers that I've followed. It's labelled as "drama" but it borders a new genre almost. The series is so naturally written, acted and directed that it seems like a reality show. It is not rushed at all, which is really nice. There is time for little details of the cooking, of the food, studying ingredients, talking to food, smiles, jokes, etc. The characters are (mostly) super cute, friendly, beautiful and innocent. There is no real conflict but the story moves on, almost in the background somehow. It is really sweet and I find it quite refreshing. It took me a while to realize it's set in modern times, the maikos have mobile phones and stuff, but it looks and feels more like a period series. I personally love it.

This series is refreshingly light-hearted, wholesome and easy to binge watch. The food scenes highlight the intention and artfulness of Japanese cuisine and make me want to try more of it. The intimate shots of Kyoto make it feel like we're there on tour, seeing places we might not get to see if we were mere tourists. Though the dialogue and characters seem so simplistic and giggly throughout the series (something that would normally be a huge turnoff for me), there is something subtle about them and the culture that pulls you in and makes you want to be kinder, less selfish and more grateful for life's simple pleasures. While watching this series, I found myself wanting to elevate my own cooking of my family's meals and to be more appreciative of things I commonly take for granted. It's like the central characters are so exemplary in many respects, that their goodness permeates through the screen and rubs off on you. I also enjoyed learning more about geiko and maiko culture. Unfortunately, I was misled by Memoirs of a Geisha to think that Geisha/Geiko were more like high-end prostitutes but this series made it clear that that was a gross mischaracterization of the role these delicate and respected purveyors of tradition and historical art play in Japanese society. I hope there will be a second season.

This is a wonderful and rare view into the life and workings of a Maiko House in Kyoto. All the characters are beautifully presented by the ensemble cast and whilst the storyline is simple and limited, there is always enough going on to be completely enthralling.

The cooking/ food is so authentic you can almost taste it, and the two young girls under training are so caring and giving both to each other and all others.

Kyoto scenes are breathtaking at times and simply beautiful at others.

This show has similarities to Midnight Diner in that it focuses on ordinary people going about their lives.

But there is nothing ordinary about the quest to become a fully fledged Maiko at the heart of the story and the portrayal of the training and lifestyle required is extraordinary. So too the appointment and work of the wonderful Makanai, in cooking and caring for all.

I hope those who have not lived in Japan, like I, can fully appreciate the art and insights in this wonderful story. It is worth the effort.

Overall a wonderful series, offering deep sweetness without sentimentality. It celebrates Japan's restrained aesthetic of beauty - a row of different coloured jars and bottles on a shelf becomes a revelation.

Two 16 year old girls enter a house for the training of geisha (geiko). Sumire (Natsuki Deguchi) displays exquisite sensitivity, captured by close ups of her face. Her friend Kiro (Nana Mori) is a creature of sunlight; dark words and experiences slide off her, unable to get any hold on her personality. When she can't make the grade as a trainee geisha she becomes a dedicated "makanai" cooking for the household. Tsurukoma (Momoko Fukuchi) stood out for me in the supporting cast - one of the young trainees full of liveliness and charm, within the constrained atmosphere of the house.

Early on the show sharply separates geisha from sleaze. The geisha's audience is represented by a handful of middle aged men who know and appreciate the intricate meanings of the performances. The action is mainly in a traditional house and handful of traditional streets, meticulously preserved in modern Japan; we only have faint hints of drunken salarymen or tourists after instant-gratification pics with a geisha.

In taking her geisha training Sumire defies her father's wish that she train to be a doctor. The show celebrates close female bonding and gentle but firm refusal to submit to fathers or lovers. It can also be seen as celebrating Japanese women's physical beauty and delicacy, their role in providing pleasure and entertainment, their deference, and even perhaps the many forms of restriction they face in the Maiko House.