HERO’S ISLAND premiered at the 45th Hawai‘i International Film Festival presented by Halekulani.
HERO’S ISLAND, directed by Keishi Ohtomo, is an action-packed historical drama taking place during the U.S. occupation of Okinawa. A mystery unraveling over twenty years, three friends attempt to locate their leader as the film unveils the harsh realities of post-war Okinawa. Filled with powerful depictions of anger and betrayal, the audience is confronted with the ongoing battles that shape the people and daily life on the island. One of the film’s most striking moments comes when Gusuku (Satoshi Tsumabuki), the story’s focal character, tells a Japanese official that the Japanese are not Okinawans—and will never grasp the struggles they face.
The plot may be fictional, but the story is deeply shaped by the island’s history. After WWII, the United States had authority over Okinawa and maintained its military bases active. Starting in 1952, the film opens with an ambiguous raid at the Kadena Air Base, led by a local gang seeking supplies. We become immediately aware something is wrong; in a fast-paced, nerve-wracking sequence, we see Gusuku sprint away for his life and reunite safely with Yamako (Suzu Hirose) and Rei (Masataka Kubota), but the leader of the group, On (Eita Nagayama), never catches up. Even after the group splits, they share a single objective: to search and find On. Although, as we follow the characters over the course of two decades, one truth remains evident: the presence of the military cause harm and destruction to the community.
Gusuku becomes a detective to search for On, but is faced again and again with horrific attacks on the Okinawans, usually caused by drunk soldiers. He persists to bring his people justice, but many perpetrators walk free, continuing to bring crime to the community. The issues of the island are ignored by the American and Japanese governments. As the people grow frustrated, many, including Yamako, want the island to be given back to Japan, but Gusuku argues that the Japanese don’t care about their best interests either. The island becomes reinstated to Japan in 1972, but the base is permitted to stay, so ultimately nothing was changed. The driving conflict throughout the film is a lack of sovereignty. Living in close proximity with the base, the people are subject to oil and fuel spills, exposure to toxic substances, aircraft crashes, irresponsible car accidents, and murders, which is only a fraction of the real events that occurred during this time. The film hones in on this reality and incorporates the disappearance of On as a device for the three to push back against the militarization of the island.
While focusing on overarching political themes, the film also draws in the audience with the mysterious case of the raid. Whether we are following Gusuku, Yamako, or Rei, we are thrown for twists and turns, never knowing what to expect, or who to trust. Even while exhibiting completely different lifestyles, they each continue to unravel bits and pieces of the story, leading to more questions regarding that night. As long as they believe On is alive, they have hope for the island. The audience is able to sympathize with the characters and take inspiration from their resilience, even when their situation seems futile. Perhaps the most touching aspect of the film is how in the face of loss, the characters continue to persevere and refuse to accept defeat. Historical dramas can tend to contain a condescending narrative, but the film appropriately incorporates historical events to create an uplifting story of determination. The message is loud and clear: the Okinawan people are not helpless, but strong. Okinawan history tends to get lumped together with Japanese history, so it is refreshing to see a film highlighting the Ryukyuan people, especially at HIFF.
While the film highlights the history of injustice on the island, considering my Okinawan heritage, I was disappointed in the lack of Ryukyuan cast. Since the story was so specific on the issues of the Okinawan people, I was surprised that none of the roles featured authentic Ryukyuan actors. Nonetheless, I still appreciate what the film is going for, and thought it was emotionally enthralling and entertaining. The actors showcased an amazing performance, and the storyline was intense and engaging, yet still representative of the island’s history. Overall, HERO’S ISLAND masterfully intertwines history, mystery, and emotion to shed light on the enduring resilience of the Okinawan people, reminding audiences that even in the face of injustice and loss, hope and identity remain unbroken.
The HIFF ONLINE CREATIVES & CRITICS IMMERSIVE (HOCCI) program supports sustainable film criticism in Hawai’i through mentorship and paid career opportunities for Hawai’i-based AANHPI critics. The mission of HOCCI is to broaden diversity in film criticism across the Pacific and use influencer branding strategies to spark career opportunities. The 2025 HOCCI is supported by Critical Minded, a grant-making and learning initiative that supports cultural critics of color in the United States.
Kylee Maxwell is a senior at the University of Hawai’i at Mānoa pursuing her BFA in Digital Cinema. Kylee has worked as a cinematographer on several short films in addition to working as a videographer on an independent TV pilot and feature film with Orig Entertainment. With aspirations to pursue a career as a director of photography, she aims to showcase the different facets of humanity through the lens. She is passionate about pushing the boundaries of film, often by creating stories exploring social and environmental issues. Her goal is to uplift marginalized voices through her past, present, and future projects. Kylee wishes to make a meaningful impact in the community and inspire others through her films.
