7.2/10
992
8 user 9 critic

Survival Family (2016)

Sabaibaru famirî (original title)
After a sudden worldwide power cut, a Tokyo family are caught up in the chaos as millions traverse the country in search of electricity.

Director:

Shinobu Yaguchi

Writer:

Shinobu Yaguchi (screenplay)
Reviews
1 nomination. See more awards »

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Cast

Credited cast:
Fumiyo Kohinata
Eri Fukatsu
Yuki Izumisawa Yuki Izumisawa
Wakana Aoi Wakana Aoi
Rest of cast listed alphabetically:
Masashi Arifuku Masashi Arifuku
Mickey Curtis Mickey Curtis
Yasuo Daichi Yasuo Daichi
Akira Emoto Akira Emoto
Norika Fujiwara
Miki Hayashida Miki Hayashida
Tokie Hidari Tokie Hidari
Makoto Imazato Makoto Imazato
Jakujaku Katsura Jakujaku Katsura
Yoshiyuki Morishita Yoshiyuki Morishita
Jun Shison Jun Shison
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Storyline

When a blackout occurs an ordinary family in Tokyo believes power would be restored shortly. As the lack of power persists and all sources of energy show no sign of returning to functionality the family heads out south to reunite with the parents of the wife and mother. The family learns and bonds as it treks south on its bicycle, which is the only alternative to being on foot. Written by aghaemi

Plot Summary | Add Synopsis


Certificate:

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Details

Official Sites:

Official Site [Japan]

Country:

Japan

Language:

Japanese

Release Date:

11 February 2017 (Japan) See more »

Also Known As:

Survival Family See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
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Did You Know?

Soundtracks

Hard Times Come Again No More
Performed by Shanti
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User Reviews

 
SURVIVAL FAMILY hits the mark by showing up an uplifting down-home parable through its inexplicable milieu
26 June 2018 | by lasttimeisawSee all my reviews

SURVIVAL FAMILY, arriving in Chinese cinema this June, from the highly acclaimed Japanese director Shinobu Yaguchi (WATERBOYS 2001, SWING GIRLS 2004, WOOD JOB! 2014), idiosyncratically taps into the fecund ground of our epoch's ambiguous stance towards global digitalization, envisages a cockamamie premise when our world is struck by an unforeseen power-out, which causes all electronic apparatuses mysteriously out of whack, then a road trip ebulliently pans out about how one ordinary urban Tokyo family wrestling to survive under such circumstances.

The prologue expeditiously encapsulates the quotidian discord within this nuclear family, crammed in a tenement apartment, an office-clerk father (Kohinata), a housewife mother (Fukatsu), a brace of disgruntled high-school daughter-and-son (Izumisawa and Aoi), which constitute a garden-variety version of the universal generational gap. Little they know, the next day, electricity and its paraphernalia will be completely shorn out of their life, they are wrong-footed like the rest of the populace, after the holding-pattern period lapses with no progress (Yaguchi is pervertedly cagey in neither logical explication nor promulgating authoritative voice), although, the whole family has a rare star-contemplating night when alternative becomes scarce, they decide to visit their maternal grandfather who lives near the seaside for fear of the impending shortage of food and water.

Their ensuing bicycle trek rather exceeds their widest expectation (although their decision of catching a plane is too much a foregone conclusion to enact in the first place), occasionally they merge with migrating elements on the highway, but mishaps befall incessantly, including chancing upon another family, who are brilliantly au fait with surviving skills, only counterpoising their ham-fisted misery to a farcical extent. The mythos of resorting to an agrarian facility pays amusing dividends as they must work for a farmer after unwittingly slaughtering one of his wandering pigs, touching moment segues after they sinks their teeth into the grunt work, they choose to continue their journey.

In the third act, precarious situations gain on the family, from a torrential river to a pack of ferocious dogs, bereavement is tantalized, but Yaguchi opts for a mawkish coincidence to tone down its effect lest the tonal shift, after all, the story's appealing congeniality is what clicks with the audience, plus, on the strength of the quartet's strenuous effort (Kohinata basks in his unwonted leading role with cracking comic timing and downplayed exasperation), SURVIVAL FAMILY hits the mark by showing up an uplifting down-home parable through its arbitrary milieu, which one must hand it to Yaguchi for pulling it off this with tenacious sobriety, especially when a tangy self-involving ubiquity starts to tell.


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