Minamata (2021) | Film Review

For so long, industrial companies polluting the world have been sheltered from true consequences of their gross negligence. All while the bravest have used their voice and body to bring awareness and fight these businesses. Minamata tells the – mostly – true story of a war photographer, W. Eugene “Gene” Smith (Johnny Depp), whose photojournalism exposed the truth of how Minamata, Japan’s water supply became polluted, causing thousands to die horrible deaths at the hands of mercury poisoning.

Chisso, a chemical company in Minamata, has knowingly contaminated the area with its toxic waste for over a decade. While on an unrelated business trip in Japan, Gene is approached by the local translator, Aileen (Minami), who asks him to document the horrid circumstances of Minamata. Once convinced, Gene must not only overcome his own plight, but also stand against the President of Chisso, the ultimate villain, played by the ever-talented Jun Kunimura. Kunimura’s performance representing every billionaire who has gotten rich at the expense of the poverty locals drills deep into our heart.

But Johnny Depp is back, baby! It has been a couple decades it feels like since we’ve seen his true talents on screen for a character piece and it is always worth seeing him fall into a role like this. His chemistry with Minami is genuine and gentle. There is a softness in their moments that – paired with the lingering shots – remind us to slow down with life and take in the moments.

Minamata is riddled with intimacy, starting from the very beginning when we are introduced to Depp’s Gene. We see him working his process in the red room, developing his prints, in such a close and yet voyeuristic manner. The first 15 minutes of the film really set us up for what kind of a person we will journey with. Gene is a man who is traumatized by what he has seen in his time observing war, evidenced by his sorrows drowning at the bottom of a bottle and torturous flashbacks to the moments he’s captured in his camera.

Gene’s flashbacks are one among many elements that shape Minamata into somewhat of a noir aesthetic. He is not long without a cigarette and nothing feels safe. There is one gorgeous shot of Depp laying on the couch and the stark contrasts of light and shadows feel like a character all in themselves.

Minamata is mostly in color, however, reserving black and white shots for the flashbacks to authentic videos, which are completely fluid in the transitions. Those clips make us feel like we’ve just panned over to another camera that is without color.

Director Andrew Levitas’ use of faded blue light in various scenes is such a hauntingly beautiful method of reminding us how much this story is about death. In the first occurrence towards the beginning, Gene is reliving his worst nightmares from the war, and as the shots flip between the flashback and Depp’s face, a strobing of faded blue light spreads across Depp, reminding us that he has been witness to so much death and despair already. The second occurs as a metaphorical signal of death to come, as newspapers are printed and blue hues encapsulate the screen.

The persistent feeling in the audience of deep disdain and disgust continues through the credits as they briefly call out other major world pollution issues that have occurred over time. It is clear that for Levitas, this is more than a film. It is a tribute to the many lives lost from unnecessary tragedy. Minamata is a message that we cannot continue to allow this.

No matter the cost, we must fight. We have no choice.