This fine film is as tight and taut as a boxer's body, weighing in at a lean 58 minutes to reveal young man Yuichi (Yuki Kawashima) coming to terms with the apparent kidnapping of his star-quality younger brother by North Korea. Yuichi's mom (Miwako Izumi) seems ready to settle into an identity of a mother of a kidnapped child, while her journalist husband (Takahiro Ono) rails against Japanese and American governments for brushing off such cruel, real-life abductions. Yuichi's sister wilts when the incident's aftermath costs her ad agency job. This, while his girlfriend struggles to fathom Yuichi's silence and uncharacteristic behavior as a fledgling fighter. Can Yuichi evolve in a stifling environment charged with the tragic and unresolved loss of a child, his kid bro.

These well-crafted but walking wounded people populate a story packed with solid, intersecting themes ranging from the brutality of press, posts, and public opinion to the sacrifice of self in a quest for enlightenment. Yuichi's pitfall-ridden progress is tested in stages as his first amateur fight nears in a nearly empty gym.

Writer-director Taka Tsubota keeps the plot moving, avoiding the gratuitous to keep his story thoughtfully on track - subtle, yet rich in emotions and implications, sticking to essentials and trusting in his audience. Makes me wonder how much of his spirit is invested in Yuichi's persona. Doesn't matter - I found myself cheering on both the director and his boxer,

Greetings again from the darkness. As the film opens, we are informed that since 1977, there have been 13 confirmed cases of Japanese citizens being abducted by the North Korean government. No reason is known, and countless other "disappearances" are suspected to fall under this same crime. Writer-director Taka Tsubota's first film could be described as a political drama, a family drama, societal commentary, or international crime mystery. While it touches on each of these, the film, at its core, is a look at the turmoil and anxiety that strikes when a family member goes missing. Importantly, it's inspired by real life events from within Japan.

The Hiiragi family is a mess. The youngest son, Tetsuya, has gone missing - presumed abducted by the North Koreans, given the history and that no ransom has been demanded. What we witness is the fallout: how each of the family members reacts, how the media treats the story, and how society as a whole leans toward victim-shaming. The father and mother are played by Takahiro Ono and Miwako Izumi, respectively. Dad has a background as a conservative journalist, and the couple experienced some bumpy marital times a few years prior. Both of these items come back to haunt them as the media pokes and prods for a story.

Kaede (played by Mizuki) is the daughter, a hard worker who gets fired from her job due to concerns for her employer's image. Yuichi (Yuki Kawashima) is the oldest son, and we see him obsessed with boxing. His reasons are initially unclear, but become the heart of the film's conclusion. Of course, the media (and others) interpret his focus on boxing as indifference towards his missing younger brother, adding fuel to the fire that this is some elaborate hoax meant to attract attention to the father's political beliefs.

Guilt, confusion, and frustration are spread throughout the family as the media and society turn against them. Their lives are picked apart - past and present - and anything that can possibly be twisted as evidence is thrown at them. Is anything more disturbing than having personal family issues on public display? It's fascinating to see the many reactions ... especially those of the individual family members. Sometimes a family only has each other, and a reminder of this can arrive in many ways - some of which are emotionally draining. Although director Tsubota's focus is on the Japanese culture, it's very easy to see the similarities within American society. Victim-shaming is an easy sport in which to participate ... just pray the full force is not aimed at you.