Shuonan Zhao – Google

A masterpiece that resonates with the soul and leaves behind a slow burn for days and weeks. Marketed as the story of a former sex worker, the narratives frequently flirt with the viewers with its nuanced reminders of Chihiro’s taboo past, leaving the viewers frequently guessing the direction of the story. It is only at the end that the viewer realises that this is not a story of a former sex worker - Aya was merely moving from one role to another, only that the story captured her transition from a sex worker to a bento girl to a farmer worker. This really was a person who accepts life’s offerings, leaves her mark, and lives her life. This is apparent in the selected scenes: Chihiro went to her interview in a suit - implying that she was formerly office worker who moved on from her previous life to work as a prostitute; then she went to the bento store as Chihiro the prostitute; and finally worked on the farm as Chihiro the bento girl. There was never taboo - only the kaleidoscope of life and people whom we live in. It even, to some extent, triggers a sense of remorse and guilt from the viewers - we dived into the show on the basis that Chihiro is a sex worker, and Chihiro is only a sex worker. We keep asking ourselves ‘there is very little imprints of her identity as a sex worker in the story’ or ‘why isn’t she exhibiting behaviours consistent with that of a former sex worker, be it rehabilitation or acceptance of induction’. Until the final scene, it had not even occurred to the viewers that Chihiro isn’t even a sex worker. Everyone is Chihiro, and Chihiro is everyone. We could all embrace who we are, and leave our marks on those around us. We may not all be cherished, but being able to meet the Tae and Chihiro of our lives makes it all worthwhile.

Call Me Chihiro

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