★★★★½
Yuki Hara’s Summer Project does something that very few shorts do: it opens swiftly with intent, has a clear vision, and achieves near-perfect execution. Utilizing every second and every frame, it crafts not only a compelling story but fully realized characters.
Summer Project tells the story of a young boy who struggles to connect with his classmates until one day after school, he believes he has found a way to fit in. His curiosity and innocent intentions are gradually darkened by the world around him as the lines between reality and perception begin to blur.
The film is inspired by real anxieties surrounding youth crime in Japan, exploring how ordinary children, driven by curiosity and the desire to belong, can inadvertently become involved in tragedy.
“Utilizing every second and every frame, it crafts not only a compelling story but fully realized characters.”
Hara’s script is exceptionally well crafted, capturing not only isolation and the yearning to belong, but also the exaggerated fears surrounding how violence in games, movies, and comics can influence a young person’s tolerance, acceptance, and fascination with violence.
Crafting a narrative that largely avoids bullying and other factors commonly associated with violent behavior and outbursts is a bold choice that ultimately makes for a more effective statement.
The film showcases the classmates’ interest in vile and grotesque things, such as discovering a dead animal along a trail.
Hovering around the line of what is widely considered psychopathic behavior while never crossing it.
The children do not kill the animal, but they are fascinated by it. They think it is “cool” to look at. They dump water on an anthill and place scorpions in a cup to see if they will fight each other.
Killing bugs—or even encouraging them to fight—isn’t generally considered psychopathic behavior. Hara keeps these actions close to that line, pushing the boundaries without ever crossing them before pulling back and allowing the characters to regain balance.
“Hara keeps these actions close to that line, pushing the boundaries without ever crossing them.”
Daisuke Odachi’s cinematography is perfectly executed throughout. Every shot is tight, crisp, and powerful.
The cinematography gives the short the polish and scope of a feature film. The shots feel intentional, building tension and tone, and are paired brilliantly with Shota Ozawa’s editing.
The sharp, and at times rapid, cuts help craft tension while moving the film at a smooth and steady pace.
Yuki Hara’s vision is not only clear and consistent, but flawlessly executed. Every aspect of the production is woven together seamlessly, resulting in an impressive final film.
The attention to detail reinforces that these children are not psychopathic or unstable, but simply want to belong and fit in. Those subtle distinctions are what matter most.
“These children are not psychopathic or unstable, but simply want to belong and fit in.”
The performances are outstanding. Yuto Ouchi, Yosuke Sasaki, Ryutaro Nakamura, Kazuma Hamada, Yu Suenaga, Satoshi Nishiwaki, and Taiki Ogomi deliver some of the best child performances I have seen in recent years.
Given the film’s runtime, the actors convey a remarkable amount of range and depth in a short period. Their performances are what ultimately drive the film home.
Summer Project is a tremendously well-crafted short film and one of the best I have seen in recent memory.
The film explores the growing paranoia surrounding Japanese youth, examining societal fears that children are becoming increasingly isolated, unpredictable, and detached from the world around them.