Viewers will likely be haunted by the frightening scenes depicted within the documentary film, Black Box Diaries, which has just been nominated for a Critics Choice Documentary Award. For instance, in the opening act, the viewers are shown a surveillance video of a young woman, the writer and director of the film, Shiori Itō, who appears to be intoxicated or drugged to the point where a man dragging her across a sidewalk and into a hotel is just a few moments away from assaulting her. He is Noriyuki Yamaguchi, the chief of Washington Office of the Tokyo Broadcasting System. He had connections with the police and was an ally of the then Prime Minister of Japan, Shinzo Abe.
Finally, there is the unwavering visage of Itō in the backseat of a car, in between the conclusion of a film and the Very British judgement on Yamaguchi, and her subsequent image at the very end of the film, where she is also confidently grinning while playing a phone recording of ‘I Will Survive’ as a song. Then, however, like Greta Garbo at the conclusion of “Queen Christina,” Itō’s countenance is devoid of emotion, and we ponder her emotions. This could be her time to finally breathe a sigh of relief or feel validated in her efforts to stand up against her rapist. Or perhaps, it’s simply the realization that nothing could ever ever ease her pain of getting stalked and abused along with her traumatizing journey to seek justice. Most likely all of these and even more.
Another moment, which is equally disturbing, offers insight into what Itô’s thought process may have been. At a press conference, Yamaguchi acknowledges having had sexual intercourse with an unconscious woman, whom he met on the pretext of aiding her career in journalism, but shrugs his shoulders and says that “the sad episode” was legal.
He counters her with a lawsuit in which he claims slander.
Just like the book Itō wrote in relation to her own experience, this film is a testimony of the suffering inflicted upon Yamaguchi when she spoke out about the assault, as well as of the suffering brought upon her, or I should say any other woman in Japan, by the law, society, and the media. When someone is insulted by aggression from a person, that act is bad enough. When there is no possibility to respond to aggression with justice in the society, the dysfunction of the latter is even worse. Both take away dignity, even humanity from the person who went through traumatic experience. When the attack was carried out, Japan had rape laws over hundred and ten years old that used to require the proof of violence but had no comprehension that sex against the will of a person is itself an act of violence.
“Look for evidence,” it’s her voice that the police dismisses, ‘What evidence do you have? There’s no sign of ejaculation anywhere. A simple proof that he has contact with the bra with her DNA isn’t of any great significance . It only comes that much where if you can’t produce the evidence you will end your days of having any reliability.’ First, the police reported a case of rape and, after evaluating most of the factors, decided to close it. They explained to her why she was unable to gain her action. After conducting an investigation 3 months later, she declares that there had been a warrant for an arrest but it was revoked, over-ridden, and canceled. Though it shouldn’t be forgotten that the taxi driver that night stated that she has tried to leave the car two times and it was Yamaguchi who carried her hotel out of a cab.
Other events occurring around the world, including the #metoo campaigns in relation to Harvey Weinstein’s cases of abuse, serve to reinforce her support.
“I discovered how unheard our voices are,” she recounts. This leads Itô to call a press conference against the advice of some with regards to the possible backlash. “You will be stigmatized,” one of them tells her. She will be always labeled ‘that victim’ no matter what her level of success is. She is told to keep her face covered. Her mother says there is no way of achieving happiness through marriage and children after going public. Itô reads an email she has received from a woman: “Even if you are saying the truth, the one you appeals’ is a male and I pity him.
In order to change the system, I realized that the only way was for me to do what I had been trained as a speaker to do: to write a book, which we see in the film she begins to pursue, and then the film itself. “I can’t change seeing myself as a journalist – my goal was to find the truth. I had no options”. According to her, to be a victim is not fitting, having been expected to “be sad and weak and ashamed, not be able to show yourself.”
The film’s non-chronological story is une at the beginning and shows the more crude aspects of the film.
It doesn’t even cut the portions where the camera appears to be. Admittedly, this gets gradually more confident and polished as Itô continues to find herself. She looks rather emotionless in the previous ages and at times resorts to laughter when pleasantly surprised, but does not quite confront her feelings. In the subsequent scenes, we see her cry the most, more so when she is shown some kindness. The film is shocking in its intimacy, almost unbearably personal. At a few points, Itô literally addresses us, encased in a bedroom somewhere while filming herself on a cellphone camera. She tells the ladies’ circle that their encouragement makes her feel cocooned. When the hotel’s door man, at the peril of his own employment, says he is prepared to testify to what he saw when Yamaguchi forced her into the reception area; she breaks down and weeps. He is in the middle of a phone call and cannot see her but when he says he wants her to appreciate that he worked that evening she bows in appreciation as well.
She invites us to see her pain and her vulnerability. But the documentary is about her bravery. The title of the film comes from the words of a lawyer speaking about the lack of a proof that meets the antiquated description of a rape crime contained in a law that was written over one hundred years ago. If, instead, we consider this movie as a kind of technology that uncovers vital details after a plane crash, the term is less accurate. It is true too about the black box, and also true about how no disaster could silence Itô–a survivor who longs to inform the society about journalism.
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