Reminiscent of Kurasawa\'s film Ikiru , Enlightenment explores the interior mindscape of a Japanese-Peruvian man and his luminous unraveling Katzuo Nakamatsu is having a recurring dream.
From this dark and deadly estrangement, a piercing question emerges: Why did our hides, our Japanese eyes, our bodily humors, provoke suspicion and rejection?.
Like a logic puzzle, Enlightenment calibrates Augusto Higa Oshiro\'s own entangled identity.
With a certain electric lunacy, he spruces himself up with a pinstripe tie, tortoiseshell glasses, and wooden cane, taking on the costume of a man he knew as a child, hoping to grasp that man\'s tenacious Japanese identity.
He conjures his smiling wife Keiko and wonders how he lost his Japanese community with her death.
Slowly, to the steady beat of his reptilian feet, Nakamatsu begins to arrange his muted ceremony of farewell.
He retreats into flânerie, musing with imaginary interlocuters, roaming the streets, and reciting the poems of Martín Adán.
Katzuo is at sea after being forced out of his job as a literature professor without warning.
Nakamatsu sleepwalks his way toward sublime disintegration.
He wanders away in concentric circles, as if along a spider web, and wakes in a sweaty torment.
He\'s strolling down the glinting avenues of Lima, branches crowning overhead, when he hears someone snickering from the shadows.
Reminiscent of Kurasawa\'s film Ikiru , Enlightenment explores the interior mindscape of a Japanese-Peruvian man and his luminous unraveling Katzuo Nakamatsu is having a recurring dream
