Hiroshi Abe did not receive an Oscar nomination for portraying Ryota Shinoda in After the Storm.
After the Storm is a quietly powerful tale of a semi-successful but aimless novelist dealing with the shambles of his life.
As typical for writer/director Hirokazu Kore-eda, he presents a very subdued human story within the theoretical trappings of an overt melodrama. That idea here is presented within the character of Ryota who is a whole lot of things, maybe could even be too much, however that doesn't break his character because of the nature of Hiroshi Abe's performance. Abe naturally endears one to Ryota in the early scenes of the film where we see him spending time with his doting mother (Kirin Kiki). Abe speaks with a hopeless kind of optimism around his mother as he believes in his ability to still be a novelist and a father to his family, even as he's estranged from his wife and hasn't written anything in some time. Abe's performance wins you over, against one's best judgment, because he presents a phony resilience initially in Ryota. Abe shows the right balance between outward confidence and the internalized sense in his eyes that the man isn't nearly as confident as he wishes to project himself.
We find that Ryota has kind of a strange life as his actual day job is working for a private detective agency and often leads small investigations to uncover affairs more than anything. Abe's performance in these scenes is fascinating in creating this combination of confidence and haplessness in equal measure. There is an intelligence he coveys in the moments of figuring out how to capture the adultery when he can, there is even a smoothness to Ryota in moments. Abe though is as natural in segueing at a moment's notice to showing this less than stellar qualities of the man. Such as when we see him kind of under the thumb of his employer or going about blackmailing a target rather than doing his job. Abe brings this innate desperation that suggests greater anxiety where his confidence but covers that up. A desperation where he conveys in each word this fixation on trying to find some money and get what he believes needs. Abe's performance is convincing on both sides of this, but more importantly, is so convincing in the contradiction. Abe shows the façade he is able to put on to be the detective while it all being an act to try to find some kind of money to pay child support.
In regards to the issue of child support is where we see the greater truths of the man that Abe delivers with a real sensitivity in his performance, a sensitivity that more than anything reveals a fool. This is as we watch him essentially stalk his wife and son, the latter of whom he may not be able to see if he doesn't pay for the support. Abe really is great because again beyond one's best judgment he does make you see the certain purity in his actions as he finds ways to sneak off to talk to his son. Abe brings a sincere warmth in his manner towards his son, even though at the same time it's his refusal to be responsible that keeps him potentially from seeing his son. Abe is able to realize the hypocrisy without making you hate Ryota almost through the specific naivety about his manner. We see this particularly when he keeps asking questions about his wife's seeming new boyfriend. Abe is able to realize the genuine concern in his voice, a more direct intense jealousy, but also a kind of boyish jealousy all at the same time. He's not quite a man and in that, there is almost a strange excuse he creates within the character in his pestering questions. The specific concern he presents is an honest concern, but also still almost not quite accepting reality making seem less possessive than the behavior might theoretically seem otherwise. Abe carefully maneuvers around the character's flaws, to present them as flaws, but specific flaws around his inability to fully mature as a person.
Our progression of Abe in a way is not dissimilar, though far less hectic, version of Uncut Gems, as we follow our character who thinks he makes everything work if he just does that one more thing. Abe's performance is lower-key in this regard but is wholly successful in creating this sense of the forward push within the spirit of Ryota that keeps him in this state of desperation. Each time he goes to a pawn shop to acquire a bit more money Abe's eyes carry fixation and his expression the palatable need for this thing to provide him the money. The same as he works every case as the detective, even when playing the smoother operative, Abe's eyes confess a man in this need despite being able to present himself otherwise at times. Abe's performance though isn't as a man slowly falling apart and that is what is so intriguing about his work. He captures that specific juvenile spirit that differentiates him from a truly desperate man in a more expected sense. Take when he gets an easy way to make money, his novel being adapted into a Manga, with even the option to use a pen name to hide his identity for his pride's sake. Abe portrays initially at hearing the money this eagerness and brightness in his eyes in seeing a simple way out. When the full idea comes out he shows someone as immature in the as quick of frustration as he speaks as a man who refuses to accept himself as anything less than what he has constructed for himself, in his own mind at least.
All of Ryota's schemes come to a head as he weathers a typhoon at his mother's home, while his sister is visiting, and his wife and son will eventually visit as well. His chemistry with his sister (Satomi Kobayashi) is an excellent minor bit of performance between both actors who provide a unique dynamic. This as they are both different yet similar in their way of scheming through life just Ryota might be more delusional about it. Abe and Kobayashi bring this rather likable, even technically antagonistic, interaction where both understand each other with a loving sort of brother and sister understanding, even as they don't express any love to each other. They attempt to foil each other and in that Abe and Kobayashi show it through their casual and comfortable interaction coming from a place of closeness even as it is undermining. After that interaction, he's left with seeing his mother, who to an extent enables his schemes, his wife, and his son. Here you get the best of Ryota and the worst of it, and Abe brings it to life so wonderfully at every step. And that is what makes this such an effective performance because every step, good or bad, Abe makes so distinctly honest in such a natural way. We see this in every moment with his son where in every word there is genuine love and care, just as there is always a quiet tension in his voice of someone knowing he may not get to see his son if he doesn't find the money. In turn, he creates sympathy for him, even if he doesn't deserve it, as tries to steal from his own mother, and seeing a note from his sister beating him to a hiding spot, Abe's reaction is perfection as it is frustration but also almost this certain relief and admiration while being bested. And in this, you see in a way the immaturity as it remains a certain game in Abe's performance as he realizes Ryota's specific appeal and shortcoming. With his wife, Abe realizes this dynamic so authentically as he attempts to win her back. Abe brings a real charm in these moments, as he is the people pleaser, but at the same time, you see it as a boy charming his crush than a fully realized man. He is convincing in making you see why his wife would almost consider reconciliation but is as convincing in showing how this act only goes so far, therefore is unsuccessful in the end. The moment of his wife speaks the fact that she won't take him back is amazing acting from Abe. His reaction is so small yet so powerful as he realizes in his subtle sadness a moment of true maturation as he recognizes it as truth. There is no trying to charm his way through, there is just a poignant combination of acceptance while also trying to hold in his sadness to keep this pain from his wife. Abe in this moment shows success in the failure, as in the acceptance there appears to be a final growth that had so long alluded Ryota throughout the film. Abe crafts unusual arc, yet one that feels wholly natural, and more importantly is a wholly moving portrait of a man coming to terms with his mistakes.
