Criticism of ‘Plan 75’, not so voluntary euthanasia in the near future

Although set as close to dystopia as possible, in the manner of a ‘Black Mirror’ episode, the starting point of ‘Plan 75’ resonates painfully with our recent history. In her first feature film, Chie Hayakawa imagines a society in which the elimination of the old is naturalized and encouraged by the government. The film intertwines three narrative frames that converge around an old woman, a superb and moving Chieko Baishowho is considering submitting to this ‘voluntary’ euthanasia plan.

‘Plan 75’ not only moves easily within the coordinates of the thriller of anticipation with a background of social criticism, it also is situated in the best tradition of some masters of Japanese cinema, from Yasujirô Ozu from ‘Tokyo Tales’ to Shôhei Imamura from ‘The Ballad of Narayama’, by capturing the generational tear experienced by the elderly from a sober story full of humanity. As she icing on the cake, the director avoids falling into the most pessimistic resolutions, and at the same time easy, of certain dystopian approaches to outline the germ of a possible social reconciliation.

To rethink from the bowels our present and future link with old age

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DATA SHEET

Address: chie hayakawa Distribution: Chieko Baisho, Hayato Isomura, Stefanie Arianne, Yumi Kawai Country: Japan Year: 2022 Release date: 28–4-2023 Gender: Drama Script: chie hayakawa Duration: 105 minutes

Synopsis: In Japan, in the near future, the aging of the population is accelerating. The government estimates that, after a certain age, the elderly become a useless burden on society and implements the “Plan 75”. This program offers the elderly a logistical and financial support to end their lives.