"Dreaming in the Namib Desert" (Desert of Namibia) is a film written and directed by 28-year-old Japanese emerging director Yoko Yamanaka, which won the FIPRESCI Prize at the Directors' Fortnight of the Cannes Film Festival in 2024 and was released in Hong Kong on July 10, 2025. The film focuses on Kana (played by Yumi Kawai), a 21-year-old laser hair removal technician, and through her chaotic yet sincere life, it depicts the confusion, struggle, and self-exploration of Japan's Generation Z in modern society. The 137-minute film does not have a plot full of climaxes, but with delicate cinematography and genuine emotions, it sketches a spiritual picture of contemporary young people, which is both relatable and poignant.

The story revolves around Kana, who is called "the worst person in Japan" but may be the epitome of today's youth. Kana lives a seemingly ordinary life in Tokyo but is tired of her monotonous aesthetic job and scoffs at modern norms like paper straws. In her private life, she jumps from one morbid relationship to another toxic one, forcing a smile when with her live-in boyfriend Arin (played by Daichi Kaneko) while secretly flirting with another man (played by Ichiro Hirose). Her way of escape is to indulge in live streams on her phone, watching the lives of antelopes in the Namib Desert—this "vast land" has nothing, yet it seems to reflect the emptiness in her heart. The film opens with shaky shots of Tokyo streets, Kana swinging her handbag, running wildly like a child, but not knowing where to go. The slogan on the poster, "In an age that forces people to use paper straws, what future are you talking about?" hits the nail on the head in expressing her rebellion and confusion.

Yoko Yamanaka's directing style is full of personal flair. She uses non-linear narratives and a lot of handheld shots to capture Kana's emotional fluctuations, making the audience feel as if they are in her inner world. For example, in a scene where Kana and her boyfriend fight, the camera suddenly cuts to her watching the fight on her phone with a blank expression. This sense of alienation is both absurd and real, highlighting how smartphones have become filters for modern people's emotions. Another impressive scene is when Kana attends Arin's family gathering. She dresses up carefully but can only manage a forced smile, and her conversation with her boyfriend's mother is full of alienation. These details are plain yet powerful, showing Kana's suppression under social norms. Yoko Yamanaka once said that she and Kana are "almost identical," and this autobiographical emotional investment makes the film particularly sincere. Through Kana's story, she calls on young people not to stagnate for fear of making mistakes but to bravely face the hurt and love in their hearts.

Yumi Kawai's performance is the highlight of the film. Her eyes are sometimes empty, sometimes angry, perfectly interpreting Kana's selfishness, emotionality, and inner vulnerability. Especially in a video call with her mother, Kana cannot understand her mother's friend's Mandarin and can only repeat "hello." This scene is plain yet full of tension, hinting at her sense of alienation from her mixed-race identity. Yoko Yamanaka also mentioned in an interview that she and Yumi Kawai share a mixed-race background and empathize with the subtle exclusion of outsiders in Japanese society, which makes Kana's confusion more universal. The performances of supporting actors Daichi Kaneko and Ichiro Hirose are also commendable. Although their characters are not deeply explored, they provide the necessary tension for Kana's emotional entanglements.

In terms of visuals and sound effects, the film mainly stages the urban hustle and bustle of Tokyo, occasionally interspersed with live stream clips of the Namib Desert, the latter forming a strong contrast with its tranquil images. Although the desert scenes are only presented through the phone screen, their vast imagery resonates with Kana's inner emptiness, leaving a lasting impression. The soundtrack features minimalist electronic music and ambient sounds, enhancing the immersion but occasionally appearing monotonous, failing to fully elevate the emotional climax.

However, the film is not without flaws. The 137-minute runtime is slightly lengthy, and some plots, like Kana's sleepwalking-like wanderings, seem too loose, lacking clear momentum. The depiction of modern societal pressures is profound, but some segments are too obscure, making it difficult for the audience to fully interpret the director's intentions. Additionally, the portrayal of supporting characters is somewhat thin, failing to fully explore the complexity of their relationships with Kana. For audiences expecting plot-driven films, this one might seem like "nothing happens," but that is precisely its charm—it does not seek answers but presents a state of being.

Overall, "Dreaming in the Namib Desert" is a youthful tale about confusion and sincerity. It does not offer simple redemption but through Kana's story, it makes the audience reflect on the constraints of modern society and the struggle for self-identity. Yoko Yamanaka created a vibrant work with an extremely minimalist 15-day shoot, and Yumi Kawai's performance adds soul to this "desert." For audiences who enjoy contemplative films, this is a masterpiece not to be missed.

"Dreaming in the Namib Desert" (Desert of Namibia) is a film written and directed by 28-year-old Japanese emerging director Yoko Yamanaka, which won the FIPRESCI Prize at the Cannes Film Festival's Directors' Fortnight in 2024 and was released in Hong Kong on July 10, 2025. The film focuses on Kana (played by Yumi Kawai), a 21-year-old laser hair removal technician, and depicts the confusion, struggle, and self-exploration of Japan's Generation Z in modern society through her chaotic yet sincere life. The 137-minute film does not have a plot full of climaxes, but with delicate cinematography and sincere emotions, it outlines a spiritual picture of contemporary young people, which is both relatable and poignant.

The story revolves around Kana, who is called "the worst person in Japan" but may be the epitome of today's youth. Kana lives a seemingly ordinary life in Tokyo but is tired of her monotonous aesthetic job and scoffs at modern norms like paper straws. In her private life, she jumps from one morbid relationship to another toxic one, forcing a smile when with her live-in boyfriend Arin (played by Daichi Kaneko) while secretly flirting with another man (played by Ichiro Hirose). Her way of escaping is to indulge in live streams on her phone, watching the lives of antelopes in the Namib Desert—this "vast land" has nothing, yet it seems to reflect the emptiness in her heart. The film opens with shaky shots of Tokyo streets, Kana swinging her handbag and running wildly like a child, not knowing where to go. The slogan on the poster, "In an age that forces people to use paper straws, what future are you talking about?" hits the nail on the head about her rebellion and confusion.

Yoko Yamanaka's directing style is full of personal flair. She uses non-linear storytelling and a lot of handheld shots to capture Kana's emotional fluctuations, making the audience feel as if they are in her inner world. For example, in a scene where Kana and her boyfriend fight, the camera suddenly cuts to her watching the fight on her phone with a blank expression. This sense of alienation is both absurd and real, highlighting how smartphones have become filters for modern people's emotions. Another impressive scene is when Kana attends Arin's family gathering. She dresses up carefully but can only manage a forced smile, and her conversation with her boyfriend's mother is full of alienation. These details are plain yet powerful, showing Kana's suppression under social norms. Yoko Yamanaka once said that she and Kana are "almost identical," and this autobiographical emotional investment makes the film particularly sincere. Through Kana's story, she calls on young people not to stagnate for fear of making mistakes but to bravely face the hurt and care in their hearts.

Yumi Kawai's performance is the highlight of the film. Her eyes are sometimes empty, sometimes angry, perfectly interpreting Kana's selfishness, emotionality, and inner vulnerability. Especially in a video call with her mother, Kana cannot understand her mother's friend's Mandarin and can only repeat "hello." This scene is plain yet full of tension, hinting at her alienation from her mixed-race identity. Yoko Yamanaka also mentioned in an interview that she and Yumi Kawai share a mixed-race background and empathize with the subtle exclusion of outsiders in Japanese society, which makes Kana's confusion more universal. The performances of supporting actors Daichi Kaneko and Ichiro Hirose are also commendable. Although their characters are not deeply explored, they provide the necessary tension for Kana's emotional entanglements.

In terms of visuals and sound effects, the film mainly stages the urban hustle and bustle of Tokyo, occasionally interspersed with live stream clips of the Namib Desert, the latter forming a strong contrast with its tranquil images. Although the desert scenes are only presented through the phone screen, their vast imagery resonates with Kana's inner world, leaving a lasting impression. The film's soundtrack features minimalist electronic music and ambient sounds, enhancing the immersive experience, but it occasionally feels monotonous and fails to fully elevate the emotional climax.

However, the film is not flawless. The 137-minute runtime is slightly lengthy, and some plots, like Kana's sleepwalking-like wanderings, seem too loose and lack clear momentum. Although the depiction of modern societal pressures is profound, some segments are too obscure, making it difficult for the audience to fully interpret the director's intentions. Additionally, the portrayal of supporting characters is somewhat thin, failing to fully explore the complexity of their relationships with Kana. For audiences expecting plot-driven narratives, this film may seem like "nothing happens," but that is precisely its charm—it does not seek answers but presents a state of being.

Overall, "Dreaming in the Namib Desert" is a youthful tale about confusion and sincerity. It does not offer simple redemption but through Kana's story, it prompts the audience to reflect on the constraints of modern society and the struggle for self-identity. Yoko Yamanaka created a vibrant work with an extremely minimalist 15-day shoot, and Yumi Kawai's performance adds soul to this "desert." For audiences who enjoy contemplative films, this is a masterpiece not to be missed.