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Umi Ishihara (director), Gravity and Radiance, 2021. 30 min.
Gravity and Radiance, a 2021 experimental documentary by the London-based Japanese artist and filmmaker Umi Ishihara, is a mesmerising tapestry of interwoven narratives. The film eloquently chronicles the filmmaker’s encounter with a Christian congregation and outreach programme, NPO Houboku, in Kitakyushu, Kyushu, Japan.
Christianity, as a minority religion in Kyushu, carries a profoundly complex history spanning 476 years. Yet, Ishihara’s fervent fascination lies not in the layers of its past but in its present manifestation, known as Kirisuto-kyō. Her lens captures the contemporary expression of faith through the creation of a Passion Play, lovingly crafted by a small and uniquely dedicated Christian community.
The Passion Play, born amidst the opulent grandeur of European halls and affluent monasteries, has journeyed through centuries and continents to find humbler stages. It found its way to small villages, modest local churches, and even the streets, performed by local amateurs whose simple costumes and staging often reflect the play’s newfound intimacy. Yet, its denouement remains unchanged: an audience bears witness to Christianity’s enduring message of inevitability—not death, but the promise of eternal grace.
We are introduced to Tomoshi Okuda, a Baptist pastor and the founder of NPO Houboku. Through his compassionate presence, we encounter his parishioners, listening to their difficult life stories, and following them through the rehearsal and performance of a Passion Play.
The church community’s production remains faithful to the Passion Play’s vernacular tradition. Guided by discussions with Pastor Okuda and with each other, a play emerges—a strikingly original communal vision.
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“You could not be born at a better period than the present, when we have lost everything.”
—Simone Weil, Gravity and Grace
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Ishihara has said that she found Simone Weil’s Gravity and Grace influential.
What broader human crises does Ishihara see reflected in this small, peripheral community of Kyushu? Why does the humane treatment and acceptance of those in need remain an exception, regarded not as ordinary but as an extraordinary act of compassion? What spiritual essence has slipped through the cracks of contemporary societies, leaving a void now yearning to be rediscovered? The film is a testament to Ishihara’s observations on, and genuine participation in, one Japanese Christian congregation’s response to such questions.
Japan boasts a long and venerable tradition of theatre. Live performances, from traditional kabuki to the more accessible taishū engeki shows, are widely attended. In both the film and the play production, I discerned resonances of various theatrical forms, from the profound spiritual drama of Noh to the contemporary, colloquial vibrancy of shōgekijō.
Ishihara lived with Pastor Okuda—a friend of her father—and his family for a time, immersing herself in their lives. She also became familiar with members of his congregation. The film poignantly juxtaposes the biographies of the play’s actors, many of whom are societal outcasts grappling with mental, physical, and spiritual afflictions, against their transcendent portrayal of the Passion Play, a performance that transforms their suffering into an act of collective grace.
The film eschews dogmatic interpretations of religion, focusing instead on the experiential journey of one Christian community toward redemption. This is powerfully illustrated by their support for and faith in one another, and their struggle to accept, forgive, redeem, and renew themselves.
Ishihara presents two compelling storylines—one humanistic, the other deeply spiritual—each full of pathos, self-determination, and hope. These are poignant yet radiant tales of individual suffering and the unyielding quest for liberation from that pain. The audience also witnesses a communal act of faith, transformed into a labour of love and creativity, ultimately culminating in the transformative power of theatre.
Author’s note: The film has been released in both a shortened exhibition version and a longer theatrical cut. A trailer is available on Ishihara’s website. For more information about distribution and screenings, contact the filmmaker directly.
How to cite: McDonald, Marsha. “Transcendence and Redemption—Umi Ishihara’s Gravity and Radiance” Cha: An Asian Literary Journal, 16 Jan. 2025, chajournal.blog/2025/01/16/gravity.
Marsha McDonald lives in Vilar de Andorinho, Portugal. An artist and writer, she works and exhibits between North America, Europe, and Asia. She has received grants from the Pollock-Krasner, Puffin, Mary Nohl (travel), Lynden Sculpture Garden, Gallery 224 Artservancy (artist working within conserved land in Wisconsin USA), and a New York Fellowship. Her writing has appeared in Otoliths (Australia), The Drum and The Cantabrigian (Cambridge MA), Voice & Verse Poetry Magazine, Cha (Hong Kong), and La Piccioleta Barca (Milan). She has collaborated with artists and writers in the UK, France, Spain, Germany, Portugal, North America, and Japan. In 2024, she will be an arts resident at the Tyrone Guthrie Centre in Ireland and Studio Kura in Kyushu, Japan. Visit her website for more information. [All contributions by Marsha McDonald.]