Nestled amidst Tokyo's bustling Shibuya district, a relentless landscape of soaring skyscrapers shimmering with offices, shops, and eateries, lies a world that all too easily masks the existence of poverty in Japan. This vibrant backdrop might seem an unlikely setting for a screening of 'The Ones Left Behind: The Plight of Single Mothers in Japan', a documentary that uncovers a neglected facet of a broader, underreported crisis.
Japan's child poverty rate surpasses the OECD average, and a staggering half of the nation's 1.4 million single-parent households languish below the poverty line, despite the fact that approximately 85% of these parents are employed. This film is a poignant reminder of struggles that often go unseen.
Watching 'The Ones Left Behind' is not an easy task, as the harrowing tales of mothers fleeing abusive spouses intertwine with accounts of relentless hardship. Australian director Rionne McAvoy, himself a martial artist-turned-filmmaker, acknowledges the uphill struggle of single motherhood across borders but shines a spotlight on its unique Japanese hues.
In Japan, the culture of enduring adversity without complaint is deeply ingrained, a virtue that can inadvertently shroud genuine suffering in darkness. "There's a profound pride in refusing help, in not seeking government aid," McAvoy shares with The Hollywood Reporter, noting the reluctance of even NGOs and volunteer groups to be featured in the film, and the difficulty in convincing single mothers to step into the limelight.
Yet, the film's impact has been profound. Since its completion, McAvoy has received numerous heartfelt messages from single mothers, grateful for the platform it has provided. "Some said just watching the trailer brought tears to their eyes," he recounts.
Awarded 17 times at film festivals, 'The Ones Left Behind' now graces the screens of K's Cinema in Tokyo's Shinjuku, while McAvoy continues to navigate the intricacies of nationwide and international distribution. The screening in Shibuya, late September, drew the attention of dignitaries like the UK and Norwegian ambassadors, as well as former digital minister and prime ministerial contender Taro Kono, who acknowledged Japan's shortcomings.
Kono underscored the gender wage gap and disparities between regular and non-regular employees as pivotal issues, asserting, "Raising awareness through this film and taking action to rectify the situation is the first step towards solving this problem." He highlighted the income disparity between single-father and single-mother households, a stark reminder of the unique challenges faced by mothers.
While some experts cited the UK as a model for combating child poverty, British Ambassador Julia Longbottom tempered expectations, pointing to recent regressions in her own country since the Blair-era advances. She noted that the UK now shares similar child poverty rates with Japan.
McAvoy's journey from martial artist to filmmaker might seem unconventional, but it's one that has led him to create a powerful work of empathy and understanding. With plans for a series centered on child suicide, an issue that continues to escalate amidst declining suicide rates nationwide, McAvoy's lens remains focused on the often-silenced voices of Japan's marginalized communities.
