A co-production between Germany and Japan, Perfect Days has garnered significant recognition since its premiere on May 23, 2023, at the 76th Cannes Film Festival. The film won the Prize of the Ecumenical Jury and the Best Actor Award for Kōji Yakusho’s performance. It was also nominated for Best International Feature Film at the 96th Academy Awards, making history as the first film directed by a non-Japanese filmmaker to be nominated as Japan’s official entry.
Wim Wenders’ 2023 film Perfect Days offers a profound exploration of simplicity, routine, and the unnoticed beauty in everyday life. The narrative centers on Hirayama, a Tokyo toilet cleaner whose life is marked by structured routines and solitary contentment. The film originated as a commissioned project following the COVID-19 pandemic, initially intended to showcase Tokyo’s innovative public restrooms as part of The Tokyo Toilet project. However, Wenders transformed it into a full-length feature, expanding its scope to explore human resilience, appreciation of the mundane, and the deeper meaning found in repetition.
The Zen of Everyday Life
At its core, Perfect Days delves into themes of minimalism and the Zen philosophy, emphasizing mindfulness and presence in daily activities. Hirayama’s meticulous care for public restrooms and his personal rituals—such as tending to plants and immersing himself in music—highlight a deep appreciation for the mundane. This portrayal aligns with the Japanese concept of finding beauty in simplicity and routine.
The film’s aesthetic approach is understated yet visually poetic, employing natural lighting, slow pacing, and static shots to immerse viewers in the protagonist’s world. Its contemplative style, reminiscent of directors like Yasujirō Ozu and Hirokazu Kore-eda, invites audiences to reflect on the quiet poetry embedded in everyday life. Moreover, Perfect Days serves as a humanistic tribute to undervalued laborers, shedding light on individuals who are often overlooked in society. Wenders elevates the dignity of these workers, portraying them as essential yet unseen contributors to urban life.
Acclaim and Success in the UK
Perfect Days has been met with remarkable praise in the UK, resonating with audiences and critics alike. It holds an impressive 96% approval rating on Rotten Tomatoes, affirming its universal appeal and critical acclaim. The film has also performed well on IMDb, reflecting its strong word-of-mouth reputation among cinephiles. Kōji Yakusho’s deeply nuanced performance as Hirayama, which earned him the Best Actor award at the Cannes Film Festival, has been particularly lauded.
Commercially, Perfect Days has found success in UK cinemas as an independent art-house specialised film. Upon its release on February 23, 2024, it earned $222,615 during its opening weekend across 69 screens. Over a ten-week theatrical run, the film amassed a total UK box office gross of $1,611,703, contributing to its global total of over $26 million. Hats off to the film’s UK distributor MUBI, a curated film streaming platform known for showcasing arthouse cinema. Its launch on MUBI’s online platform expanded its audience reach, allowing more viewers to engage with its meditative narrative beyond traditional cinema screenings.
Anticipation and Challenges in China
Perfect Days was set for release in mainland China on November 15, 2024, with a targeted distribution strategy aimed at cinephiles and film clubs, accompanied by an extended run of over three months to maximise its reach within this audience. Wim Wenders enjoys a niche but dedicated following among Chinese film enthusiasts, with classics like Paris, Texas and Wings of Desire having established his reputation among art film enthusiasts. However, his work remains less known to mainstream audiences, which could impact the film’s commercial performance.
The Chinese film market generally favours a more grassroots, social-realistic approach over art cinema, making Perfect Days a relatively niche offering. Many successful domestic films focus on themes of social struggle and collective experience rather than the petit bourgeois introspection that Wenders’ film embodies. This could limit its mainstream appeal, as Chinese audiences often gravitate toward films with more direct societal commentary.
Unlike its successful performance in the UK, the film only grossed over 3m RMB in mainland China over its release period, which was about £300,000, approximately a quarter of the UK box-office. This is a disappointing outcome.
The case of Perfect Days between the UK and China deserves more attention for analysis. This evidence however shows that the UK could potentially be a stronger and bigger market for specailised films, particularly European co-productions than mainland China, for now.
