I have not seen the two films Ninagawa directed in 2019 (“No Longer Human”, “Diner”) but her first two, “Sakuran” and “Helter Skelter” are among my favorite Japanese films of all time, both due to their concept and their intense visual style. Thus, I was quite curious to see how her style would be implemented in a TV series and Netflix’s “Followers” provided the opportunity.

The story revolves around four women. Limi Nara is a very successful photographer, who now feels the need to become a mother, despite the fact that she is single. Natsume Hyakuta has come to Tokyo in order to become an actress, but has not managed to do so at all, and she just does whatever job comes her way waiting for her big break. However, her life changes when she meets Hiraku, a YouTuber who used to be in the movie industry when he was younger, and when Limi spots her during a failed photoshoot and posts a picture of her on Instagram. Eriko is a single mother and owner of very successful cosmetics company who has just met a new, much younger boyfriend and Akane is a talent agent for a big firm, whose main client, Ayo, though, a rather spoiled and on the verge of depression pop star, takes up all of her time. Limi, Eriko, Akane, and Limi’s assistant, Yuruco form a closed circle of friends, who eventually decide to help Natsume, while trying to find out what they want to do with their lives.

Mika Ninagawa directs an ode to womanhood, highlighting every issue women face in modern life, and particularly the ways they can overcome them. Breast cancer, success, overworking and forgetting yourself in the face of your work, motherhood, the way society perceives women and what is expected of them in contrast to what they want, failure, chasing your dreams, friendship and dedication are just some of the themes Ninagawa presents. The fact that a number of them seem (auto)biographical gives a sense of authenticity and realism to the series, that works quite well for the narrative and retains the interest for the largest part of the series. And I say largest, because, after some point, the stories become somewhat hyperbolic in Ninagawa’s effort to present all the issues she wanted, with the same applying to some back and forths the characters indulge into.

Lastly, at times the series looks too much like a Japanese adaptation of “Sex and the City”, although this may not be exactly a bad thing. Both these aspects however, fit the general maximalism of the series, and in general, do not fault the overall sense the narrative leaves significantly.

The other main topic of the script is social media and the way they have shaped modern society and particularly show business, with Ninagawa presenting a rather realistic approach to the concept, not demonizing it (as is usually the case) but not idealizing it either. The fact that, within the show business in particular, you have to work with social media and their repercussions, however, is something that Ninagawa communicates quite clearly.

The story is character-centered, and so the acting plays a very important part here, and I daresay, the work done in the department and the casting, is excellent, with the overwhelming majority of the actors looking… fabulous. Miki Nakatani as the mature, successful but sensitive Limi Nara is great, with the same applying to the 20-something mess that is Natsume, with Elaiza Ikeda giving a great performance and the two of them highlighting their antithesis in the best way. Mari Natsuki gives a daring performance as Eriko while Yuka Itaya is delightful as Akane, particularly in the way she takes care of her clients as if she were their mother, a tactic that defines her in a number of levels. Lastly, the peripheral parts are also great, with Tadanobu Asano as Limi’s love interest and Nobuaki Kaneko as Yuruko giving very fitting performances, and the same applying to the guest parts, that feature Erica Sawajiri, Nao Ohmori, Anna Tsuchiya and Monsta X among others, playing instances of their actual selves, occasionally stealing the show.

The aesthetics of the film, as usual in Ninagawa’s films, play a key role, and the work done in the cinematography, coloring, but particularly costumes, production design and set decoration is exceptional, a true visual extravaganza that draws as much attention as the events and the characters, to say the least. In that fashion, Tokyo and its various, mostly high-class sites, becomes another protagonist of the movie, with Ninagawa highlighting her love for the city in the most eloquent way.

“Followers” has its faults, and it would probably be better if there were fewer episodes (could also work better as film) but in general, is very easy to watch, quite entertaining and its comments are communicated clearly. Ideal for binge-watching.