Death seems to be an omni­scient spec­tre and peren­ni­al fas­ci­na­tion for promis­ing film­mak­er Chie Hayakawa. In her debut Plan 75, Japan’s elder­ly are encour­aged to sign up for a euthani­sa­tion pro­gramme in an attempt to curb the country’s aging pop­u­la­tion. Dying is sold and com­mod­i­fied, and is as nor­malised as gro­ceries. Though not remote­ly as dystopi­an, there’s a through­line to Hayakawa’s fol­low-up in its rela­tion­ship with mor­tal­i­ty: that death has become so embed­ded in every­day life that it’s almost unremarkable.

For 11-year-old Fuki (Yui Suzu­ki), she’s lack­ing the road map for grief when time is run­ning out for her ter­mi­nal­ly ill father (a lit­tle-seen but always dev­as­tat­ing Lily Franky). Her moth­er (Hikari Ishi­da) is so occu­pied with her busy career dur­ing 1980s Japan’s eco­nom­ic boom that she approach­es funer­al arrange­ments with the casu­al­ness of a busi­ness call. In one qui­et­ly dev­as­tat­ing scene, Fuki’s father turns on the light of a clos­et to see mourn­ing clothes hang­ing by the door­way. It’s as if his fam­i­ly is already so pre­pared for his immi­nent pass­ing that he’s already gone.

Cru­cial­ly, Renoir is framed through Fuki’s per­spec­tive, car­ried by the rev­e­la­to­ry new­com­er Suzu­ki. Grief is a dif­fi­cult feel­ing to process, espe­cial­ly for a young child, and with­out any­one to lean on, she retreats to her own fan­tasies. Dreams col­lide with real­i­ty so fre­quent­ly that it’s hard to parse what’s real in Fuki’s world – and Hayakawa’s restrained mode of film­mak­ing doesn’t dif­fer­en­ti­ate between the two either. Inspired by a magi­cian on TV, Fuki even begins test­ing her abil­i­ties in telepa­thy and hyp­no­tism: per­haps mag­ic can make sense of her situation.

Fuki’s own feel­ings about death seem almost apa­thet­ic – her teacher alerts her moth­er that she’s writ­ten an essay titled ​“I Want to be an Orphan” – but even then, she doesn’t want to expe­ri­ence it alone. Left to her own devices almost every­day, Fuki search­es for con­nec­tion in ways that swing from inno­cent to dan­ger­ous. She looks to class­mates, neigh­bours, and art from the tit­u­lar French impres­sion­ist. Lat­er, she strikes up a con­ver­sa­tion with a groomer over a dat­ing phone line. Hayakawa treats it all with such a del­i­cate hand that it can verge on becom­ing too light a touch. The film’s heavy ideas can feel like they’re not being giv­en the weight they need, always keep­ing the emo­tion at a distance.

Still, few films have depict­ed com­ing of age quite like this. The first pro­mo­tion­al stills released in the lead-up to Cannes are a clever mis­di­rect: one fea­tures Fuki smil­ing and danc­ing against a clear blue sky, and you’d be for­giv­en for believ­ing you’re in for a sweet jour­ney of self dis­cov­ery. Renoir does retain that sum­mery bright colour palette, cre­at­ing a star­tling con­trast to the core dark­ness that per­me­ates Fuki’s iso­la­tion. It’s a strange and often­times bru­tal por­trait of a sin­gu­lar­ly curi­ous child, left to wres­tle with grief in her imag­i­na­tion when real life can’t pro­vide the answers.

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