Face aka KAO (2000) Junji Sakamoto.

'I like people who are wrong!'

KAO presents a beautiful drama about the lonely, insular existence of isolated, socially inept, plump young woman Masako (Naomi Fujiyama)whose dully repetitious life is challenged by the emotional schisms borne following the sudden death of her mother, and increasingly poor relations with her brash, bullying sister. Masako initially seems an usually plain protagonist, her almost wholly interior, numbing day-to-day routine at her mother's dry cleaning and tailoring service is meticulously examined by ace film-maker Sakamoto. Sympathy for the rather lumpen, monosyllabic Masako is hard-earned, but KAO is skilfully constructed as to balance feelings of ridicule and genuine compassion for the altogether tragic Masako. Querulous families have often provided creative grist for film-makers, but rarely in the captivatingly singular fashion of a fascinatingly slow-burning, ultimately humane drama like KAO. An unadorned triumph, for two rigorously compelling hours, one is drawn breathlessly into Masako's eventful existential awakening. At the onset it feels as though it will be a monumental downer, and yet, confounding all expectations, some admittedly dark humour began to filter through. I don't believe it is hyperbole to state that Junji Sakamoto's sublime KAO is a small masterpiece.