Plan 75

With the ever ageing population putting considerable pressure on the resources of the Japanese government, they pass legislation that will allow any citizen over the age of seventy-five to apply for an assisted suicide programme. They will get $1,000 and an all expenses paid, group, cremation. "Hiromu Okabe" (Hayato Isomura) is a young man charged with the administration of applications and he encounters "Michi" (Chieko Baishô). This is a lady still pretty sound of mind and body, but who is alone. She feels her existence is a burden, her home is soon to be demolished and it's fair to say that she sees little purpose in continuing to go through the motions. The young man also encounters an elderly gentleman - his estranged uncle "Yukio" (Take Takao) who is of a similar state of mind and although he cannot deal with this case directly, this triumvirate of individuals serve as a potent conduit for some thought-provoking cinema. "Hiromu" treats 'Plan 75" (curious that it is titled and branded in English) as a job. He has little personal investment in any of his clients - until, that is, he faces some personal conflict. Meantime, "Michi" has been chatting to a young lady who is on the telephone for support purposes and gradually their chatting leads to a bond and perhaps she begins to have doubts? As the threads gather together the film starts to become faintly silly - the ending is flawed on quite a few levels for me - practical and philosophical, but this story still offers us food for thought as we consider just how arbitrary age is when we evaluate suitability for things. Society uses it all the time - when we can start doing something and when we ought to stop. It rarely, if ever, looks at the particulars of the individual - it just makes simplistic generalisations. This film goes some way to challenging that perspective and though I was quite disappointed with it's lack of focus and slightly meandering narrative, Baishô and Isomura deliver well and it's certainly something to think about.

'Plan 75', the feature debut of Japanese filmmaker Chie Hayakawa, which premiered at the 2022 Cannes Film Festival, is an imperfect and shattering movie, one of those films whose idea and theme will follow viewers long after they have finished watching. The film addresses one of the most acute problems of Japan and many other developed countries - the downward demographic curve caused by the aging of the population, with catastrophic consequences for society and the economy. It is quite remarkable that the film describes this problem in a dystopian setting, but the attention of the script and the director is constantly directed towards the human dimension of the characters and the story.

In the near future or perhaps even in an alternate present, the Japanese government adopts 'Plan 75'. Anyone over the age of 75 has the right to free assisted suicide. Not only is the program funded by the government, but an unconditional bonus of ¥100,000 is also given to each senior who chooses this path. The elderly - many of whom struggle with the hardships of life, the limitations of age and especially loneliness - are also given psychological assistance. The program is excellently organized and enjoying success. After all, sacrifice is in the Japanese tradition, and what is more noble than shortening one's life for the benefit of the common good, relieving the state of the burden of maintenance and thus ensuring an easier future for the young today?

Three main characters are followed in three parallel narrative threads, the connection of which takes place towards the end of the film. Himoru is a government official who convinces the elderly to enroll in the program and helps them fill out the necessary forms. Maria is a foreign worker from the Philippines who ends up being employed in the institution where the final stages of euthanasia take place. Michi is a single woman who at 78 years old struggles with life's hardships, works to support herself and is in danger of being evicted from her home. Enrolling in 'Plan 75' is a desperate solution for her, due to economic and social pressure. All of the acting is excellent, but Chieko Baisho's as Michi is the most impressive. In fact, this part of the narrative is the most coherent.

The film has undeniable cinematic qualities, including some memorable shots. However, the thematic is even stronger than the artistic achievement. It is a very Japanese film in atmosphere, characters, style of interpretation, but the problems it raises are universal. The Western conception that life is more valuable than anything else is being questioned. What is the scale of values of a society that prefers shortening - even in comfortable conditions - the lives of the elderly instead of easing them through care in their final years? How are elderly people dealing with loneliness? How 'humane' is assisted suicide? Isn't the very idea of suicide against human nature? 'Plan 75' manages to trigger these questions in the minds of the viewers without rhetoric or melodrama, by telling the stories of truthful characters, who win the empathy of the viewers. This is a debut film that has already achieved well-deserved international notoriety.

The film disappointingly overlooks the opportunity to delve into the underlying reasons and consequences of the growing ageing population in its failure to address the crucial issue of the increasing demographic challenge faced by Japan - the fertility rate is below the replacement level. This critical concern could have been thoroughly examined within the film's narrative. Understanding the complex factors contributing to Japan's low birth rate is crucial to comprehend the social and economic implications that stem from an ageing population. By delving into the societal pressures, cultural shifts, and economic challenges that influence reproductive decisions, the film could have shed light on a pressing issue contemporary Japan faces. A missed opportunity indeed.

Moreover, exploring the far-reaching repercussions of this demographic shift would have added depth and relevance to the film. The burdensome strain on the healthcare system, pension funds, and social welfare programs are all real-world consequences of a rapidly ageing society. The film had the potential to address this social fallout and project a cautionary tale for real-world Japan, underscoring the urgency for policies and initiatives to tackle the impending crisis.

Intertwining these themes within the film's narrative, could have prompted viewers to contemplate the intricate relationship between demographics, societal dynamics, and the future well-being of a nation. Unfortunately, the filmmakers overlooked these critical aspects. The film's failure to address the underlying reasons and consequences of Japan's ageing population leaves a void in its narrative. By delving into the causes of Japan's low fertility rate and exploring the resulting social fallout, the film could have offered valuable insights and stimulated meaningful discussions. Regrettably, it falls short of fulfilling its potential and leaves audiences craving a more thought-provoking and socially aware exploration of this pressing issue.

A difficult subject of the loneliness and desolation of growing old when you are on your own and aggravated by a social & government encouragement of sacrifice any financial burden on the younger generation because you are now not contributing to society (this is not actual circumstances but we may not be far from it yet). It follows the story of 3 main characters (it actually touches much more than 3 different roles/characters in the story) of how this government funded Plan 75 (which because of it success, it is being considered for lowering from age 75 to 65!) is being marketed like a 5-star flan with compensation of money to use before volunteering to die, the gross act of dyibg itself in mass partitioned premises, the disposal of the bodies possessions, mass cremations and ashes lanong in landfills. The main 3 characters include a 78 lady who faces life alone and has to decide to choose the Plan or not, a young guy who markers the solan and a worker who has to handle the dead bodies and their possessions. It's a slow moving story but a hauntingly rewarding one. Remember - if you are lucky, you grow old. Even if you have children, you may be lonely. Even if you have friends, they may die first. A thought provoking story indeed.

By a large margin, Japan is the nation with the oldest population in the world, which has dire economic consequences in the future. Director/screenwriter Chie Hayakawa drew on this burgeoning reality and fashioned this quietly provocative 2022 character drama based on the dystopian idea of Plan 75, a government program that gives people 75 or older the option of euthanized suicide. It's a macabre (though not far-fetched) concept that Hayakawa cleverly turns into a subtle thriller based on the power of mass suggestion. The main protagonist is Michi, a lonely 78-year-old hotel cleaner who suddenly loses her job and her home, making her a prime candidate for the program. There are other key characters - a young, conflicted Plan 75 employee and a Filipina service worker who helps dispose the remains - but the focus is primarily on Michi played affectingly by Chieko Baisho. To its detriment, the film has a relentlessly somber tone. It could've benefited from a few scares or even laughs. There were just too many lengthy silent shots of Michi contemplating her fateful decision.