Mature Women's Murder Case

This film (drama)Also known asOUT，is aJapanProducerwomen sex，At2002Released in year 。The dialogue language isJapanese，Current Douban rating7.4(For reference only)。

The story revolves around four women who kill their husbands and dismember their bodies. The four female protagonists work in a bento factory, each with distinct personalities yet representing modern Japanese women: Masako, who once worked in a bank, is skilled in household management, yet as the de facto head of the family, she struggles to communicate with her long-unemployed husband and rebellious son, living in prolonged oppression and loneliness; the widowed Azumi tirelessly cares for her paralyzed mother-in-law; pregnant Yayoi receives not care but abuse from her gambling-addicted husband; and the vain Bunko is deeply in debt, solely for the sake of material enjoyment. The first three women embody traditional Japanese virtues: kindness, strength, and a degree of submission; while Bunko is a product of the conflict between tradition and modernity, unable to escape the low social status of Japanese women and incapable of establishing independence in society. Unfortunately, neither the traditional virtues nor the evolved new generation can gain respect from men and society. Kirino Natsuo’s delicate writing is superbly rendered through Hirayama Hidenori’s lens; if Yayoi’s act of killing her husband represents a struggle for survival, the subsequent collective dismemberment event becomes a silent rebellion. "Just like making bento in the factory," the repression suffered by the four protagonists is unleashed, more importantly, they regain their self-confidence, begin to contemplate their place in life, and attempt to pursue their desires. However, all of this must be conducted in secrecy, as their struggles and accusations cannot gain social recognition and tolerance. When their crime of murder and dismemberment is about to be exposed, they are forced to choose escape. Azumi, acting in self-defense, kills her abusive husband and burns her house along with her mother-in-law’s body, silently awaiting legal retribution after a sigh over her lonely life; Yayoi goes into labor midway, and the indecisive Bunko follows Masako, hitching a ride on a long-haul truck to the north to fulfill Masako's dream of experiencing the midnight sun. The film ends with the laughter of the three women, yet the emotional impact on the audience rivals the shock of "Thelma & Louise" plunging off a cliff, raising the pursuit of a simple dream in one’s heart at an enormous cost. Hirayama Hidenori reflects not only the cold detachment of social realities but also the subversion of traditional notions of feminism.