Doha Film Institute
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In Japan, the government program Plan 75 encourages senior citizens to be voluntarily euthanized in order to remedy a super-aged society. An elderly woman whose means of survival are vanishing, a pragmatic Plan 75 salesman, and a young Filipino labourer all face life and death choices.
In Japan, the government's antidote for the huge economic burden of a super-greying population is Plan 75. It encourages citizens aged 75 and over to choose euthanasia as the ultimate right to self-determination in uncertain times. Until now, Michi (78) has lived a modest, self-sufficient life. After losing her longstanding job as a hotel maid, Michi is unable to find new employment due to her age. Her dilapidated apartment is facing redevelopment, but securing new accommodation is a formidable challenge. When a dear friend of Michi meets a miserable end, she's haunted by fears of dying alone. Meanwhile, civil servant Hiromu politely and efficiently signs up seniors to Plan 75 at the local city office. As a strict rule-follower, his work doesn't weigh on his conscience. After a chance encounter with Michi, she finally joins the program, too. However, Hiromu's perspective changes when a long lost family member unexpectedly applies. At the factory-like Plan 75 facility, a young Filipino Christian woman named Maria has the ugly task of processing corpses but perseveres to support her daughter back in Manila. As Michi's scheduled fate nears, these three characters' destinies become intertwined on the brink of life and death.

Credits

Director
Chie Hayakawa
Screenwriter
Chie Hayakawa
Producer
Eiko Mizuno-Gray, Jason Gray, Maéva Savinien, Frédéric Corvez
Co-Producer
Alemberg Ang
Production Company
Loaded Films
Cast
Chieko Baisho (confirmed) Hayato Isomura (confirmed) Taka Takao (confirmed) Yumi Kawai (confirmed) Hisako Okata (confirmed) Stefanie Arianne (confirmed)

About the Director

Chie Hayakawa
Chie Hayakawa is a Japanese director and screenwriter based in Tokyo. A graduate of the School of Visual Arts in New York (2001), her early short films were exhibited at the school’s gallery and screened at international film festivals. After several years in the United States, she returned to Tokyo in 2008, where she continued to refine her craft. Hayakawa’s thesis film, ‘Niagara’ (2014), receive
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