Kakera- A piece of our Life There are films you love, films you hate and films that, quite frankly, leave you more perplexed than Dubbya-Dubbya and his bumper book of Sudoku. This one is likely to fall into that latter category for many people as Momoko Ando's directorial debut is something of an enigma, but if you're willing to unfold the creases of your mind, you might just come away with a smile.

I wanted to start this piece with a string of the films and directors that have clearly inspired the film, and whilst one might be inclined to suggest more than just the delicacy and vibrancy of Wong-Kar Wai (in particular Chungking Express) or even similarities to the female-female relationship at the centre of Ji-Woon Kim's 'A Tale Of Two Sisters' (don't let its 'J-Horror' tag fool you), to do so would be to remove the essence of Kakera- A piece of our Life and to replace it with something less unique, more generic and undeniably Hollywood, ultimately fuelling a presupposition that in all likelihood would not represent the film with complete honesty. So, with that in mind I would like to instead offer this man's thoughts with the hope that any subjectivity here is simply the by-product of a mind unfolded.

Based loosely (80% is supposedly new material written solely for the screen) on the 1996 manga 'Love Vibes' by Japanese manga artist Erica Sakurazawa, Kakera is the story of Haru, a quiet college student in a loveless relationship with a character designed to dislike, and Riko, a young prosthetist with a penchant for the women and something of a 'Yandere' character, who meet one day, quite by chance, in a cafe. Riko shows an immediate interest in Haru and this simple encounter is the catalyst for the entire film.

One of the most enjoyable aspects of the film is that it is peppered with little gems of wisdom (perhaps the most inspiring being the idea of not wasting any opportunity for the fear of not getting another one – carpe diem if you will) and is often conducive to helpless smiles (just see if you don't when you see Haru prodding Riko's bum). On the other hand, it also invites you to share in the frustrations born of feeling trapped (you'll see just that when Riko joins Haru on a couple of occasions at college socials).

There are several instances of subtle visual rhetoric that will, should you find them, reward you with a more complete viewing and give you food for thought for the trouble. One such rhetoric, however, is so glaring and unrealistic (a 'soda-pop' bottle is thrown into the air whereupon it transforms into a two-headed dove (!?) and flies away) much of the audience gave audible smirks of disbelief.

As for the questions asked…Well, really there is only one, but the point is to find it for yourself and if you find others, all the better. Admittedly, this can sometimes be frustrating and certainly there were members of the screening audience that didn't see this even by the time the credits rolled, but these questions, even if just allusions to them, can often enrich a cinematic experience – thank you, Coen Brothers.

So for anybody with an interest in Japanese culture, this film will do you proud. Whilst this is no tourist advert (the cast is tiny (and thus not representative of a cross section of society) and the locations drab), fans of cinema and culture-enthusiasts alike will enjoy the little flourishes of genius and the fact that it's simply a Japanese movie, respectively. For everybody else, go see it and let it open your mind. Sometimes a question is better asked than a question answered.

Kaze Shindo's "Love/Juice" and Momoko Ando's "Kakera" are two films that look at a relationship between two young females, though for both, lesbian love isn't perhaps the end goal, ending more as coming-of-age tales of a struggle for identity in an ever-confusing world.

We enter "Love/Juice" with Chinatsu (Mika Okuno) and Kyoko (Chika Fujimura) living together in a one bed-one room apartment, working in a hostess bar and enjoying nightlife. Chinatsu acts as the less mature Kyoko's guardian; often playing the couple, but it is a relationship that never particularly reaches the surface.

Despite sharing a bed and regularly discussing having sex, Kyoko never fully lets Chinatsu in. Kyoko seems more interested in teasing men at the hostess bar and the young man working at a local pet fish shop.

"Kakera" on the other hand starts off with student Haru (doe-eyed Hikari Mitsushima) in a seemingly bland and abusive relationship with Ryota (Tasuku Nagaoka). By chance, she is approached by Riko (Eriko Nakamura), who is attracted to her instantly. With no apparent interest in women, Haru seems taken aback and confused by the whole encounter. But, as her relationship leaves her less and less happy, she contacts Riko and, gradually, feelings start to develop.

That is not to say that Haru is immediately open to her new love - initially reluctant to introduce Riko to her friends. What results is a sense of ennui for both as they move in together and drift apart.

Both films feature relationships with an older lesbian, or at least bi, half and a younger, more naïve half who starts as no more lesbian than disappointed by her history of boyfriends. Chinatsu and Riko are the more mature halves and instigate the relationships, but their motivations are perhaps a little different.

Chinatsu already has Kyoko in her bed; she wants to have sex with her. Discussions are around orgasms and masturbation as she tries to get Kyoko to take the next step. Riko, however, is much less forward when it comes to sex. She and Haru never share a bed, even when she moves in, with Riko wanting eternal companionship and a love to share her days with.

This reflects the approach of the two films. "Love/Juice" is more sensual in its themes, while "Kakera" is more innocent. Chinatsu and Kyoko work in a hostess bar and regularly party 'til the early hours, with drugs and drink thrown into the mix. Kyoko teases their boss, but it is Chinatsu who feels his sexual wrath. Both seem to be stuck in a rut without much thoughts of the future. They live in a less than desirable part of town in a one-room shack with no real long-term aims. Kyoko has ambitions to work in the pet shop, with her male object of desire, but this is far from a career plan.

Riko, however, already has a respectable career carved out for her, living with her parents above their dry cleaners. Haru is also a literature student at university and so has her whole life ahead of her. While Ryota is abusive, he isn't as violent as the world Chinatsu suffers. "Kakera", therefore focuses more on love and long-term relationships. "Love/Juice" is more in the here and now, and Chinatsu wants it right now.

Their younger halves are not quite as into it. Kyoko flirts and teases men and seems keen on the employee at the pet shop. Chinatsu is someone she shares a bed with, but more out of convenience in their low-income situation. She likes Chinatsu, but has little desire to pursue things any further than kissing and teasing.

Haru also has her on-off relationship with Ryota going on alongside her developing one with Riko. When first approached by Riko, Haru seems as she had never considered being with a woman. Riko can offer her something Ryota can't, but is it actually what she wants?

In this sense, Kyoko and Haru are more young women experimenting while they have the chance, but never fully take the plunge. They are having fun for now, but they aren't yet sure as to what they want long-term.

Not all men are bad for Haru, and she is introduced to a friend of a friend as a potential suiter: a fellow student whose intensions seem pure. Chinatsu is more anti-men, however. No men are allowed to their apartment and she doesn't want Kyoko dancing with them in the club. Riko frequents lesbian bars, but seems out-of-place and doesn't want to categorise herself too much. For her, you fall in love with someone special, whether a man or a woman, perhaps why Haru begins to fall for her. Chinatsu makes it clear she would never fall for a man - only by force - and Kyoko's continued interest in men frustrates her further.

Neither film ends with love being found, but more an inner-confidence. Both are unconsummated relationships that beat around the bush, so to speak, but Riko, Haru and Kyoko are probably better for the experience of having loved and lost. The fate of Chinatsu is less certain. Much like any young relationship in the modern world, everyone is a little unsure of what they want long-term and are going along with things for now. What is clear is that what they want probably isn't with the person, or persons, they are with now.

With its grainy footage and grey, overly-concrete setting, "Love/Juice" is much grittier in every sense, though its soundtrack is a little cheesy, switching between a comedic whistle and typically bad club music that always fills any nightclub scene. Luckily, for the more emotional scenes towards the finale, the soundtrack, much like the film as a whole, wins out and is able to deliver. Okuno is perhaps the stand-out of the two leads, offering more emotional depth than Fujimura's more happy-go-lucky Kyoko.

The tone of "Kakera" is much lighter. Marketed as having a soundtrack by the Smashing Pumpkin's James Iha (as well as shots of underwear), he creates a gentle, almost unnoticeable feel throughout, far from the more blatant soundtrack of "Love/Juice". This also reflects that "Kakera" is a decent work, but little beyond that. It deserves points for the naturalism of the relationship and how it develops, never forcing the issue too much, feeling like any twenty-something relationship, gay or straight. You'll enjoy it, but it probably won't change your life. "Love/Juice" is less enjoyable and pleasing on the eye, but its more sensual approach gives it a little more impact, whether positive or negative.

But, much like the relationships for all involved, neither film is much long-term. "Kakera" is a nice little love story, but doesn't delve into some of the issues it raises as much as it could. It is perhaps too gentle in its approach. "Love/Juice" is short in its runtime and perhaps throws in some things without too much consequence. As such, it also feels like it could have dived into things more. The lack of backstory also leaves us with less belief in the relationship naturally progressing further.

But perhaps that is where both films win. Young love will often not last, and leave a sense of whimsy and self-examination. Both create that on conclusion, looking to the future and lessons learnt for next time. But don't expect the faces of that future to be the same.

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