Filmmaker looks at plight of single mothers in Japan

In his award-winning documentary film, “The Ones Left Behind: The Plight of Single Mothers in Japan,” Rionne McAvoy hopes to shine a light on what he describes as a “double taboo” in Japan, namely “being divorced and being poor.”

The problems facing single mothers are “largely ignored,” he said, noting the incongruence between Japan’s rich, technologically advanced economy and the  economic suffering endured by one of the most vulnerable groups in society. “Japan’s poverty is real; it’s just being hidden away in plain sight,” notes one of the texts at the end of film.

The extent of the taboo became apparent for McAvoy immediately after beginning research for production. Despite corresponding in Japanese, he was unable to secure any Japanese female university professors to discuss the topic of single mothers, and received only one reply from the 15–20 single parent groups in Japan he contacted. In contrast, he reports a response rate of about 50% from overseas-based single parent organizations, and even received messages of encouragement from those unable to help.

Undeterred, though, the long-term Tokyo resident and Australian filmmaker embarked upon what became an 18-month project that revealed the physical, mental, emotional, social and financial hardships faced by women in Japan raising children on their own.

Compared to the nation’s median household income of ¥4.4 million, for example, the annual income for a single mother with one child is ¥1.75 million. Of those single mother households, 56% are classed as living in poverty despite 85% of single mothers holding a job, equating to the highest employment rate of all OECD countries. Moreover, only one in seven single mothers receive government welfare, in part due to stigma, restrictive and outdated qualifying criteria or lack of knowledge to access it.

During the film’s 78 minutes, McAvoy weaves data, expert commentary and real-life stories into a comprehensive narrative delving into how and why single mothers struggle today. Discussion ranges from practical issues, such as difficulty gaining regular employment, affordable childcare and government support, to societal norms including breakdown of communities, isolation in a digital age and cultural discomfort in asking for help or showing weakness.

“The topic is incredibly complex but my job is to uncomplicate it,” said McAvoy, adding that it took him months to uncover how Japan’s history, culture and society affects single mothers. His curiosity of the subject — which stemmed from hearing about single mothers who didn’t want support despite their harsh situations — and determination to cover an issue that no-one else had remained his guide. With a “loose idea” of where he wanted to go, he decided to focus on listening to the interviewees, to “let them tell the story.”

For that reason, McAvoy describes the film as a journey of his own discovery, too. His inclusion of Kodomo Shokudo, or Children’s Cafeteria, which provides needy children with nutritious meals and a welcoming environment, for example, became a core part of the story after it was introduced by an interviewee.

One thing he was sure of from the outset of production, however, was that the film would showcase the fastidious efforts made by single mothers to do their best for their children and try to improve their situations.

“I’m not trying to tell a sob story … there’s hope there. If we understand the problem better, I think changes could happen quickly,” he said, noting that Japan may be slow to start but can move fast once decisions are made or plans are in place.

Viewers will also notice the film’s appeals to “try to recognize SOS signs from our neighbors,” he said. And the final screen displays the words: “Let’s reach out to those in society who need our help. Make a the world a better place. We can do it together.”

McAvoy hopes that greater coverage of the film by the Japanese press will help raise awareness of the topic, but says his primary goals are for his film to be watched at screenings and distributed on streaming platforms and at theaters.

“I’d like to pass off the issue the people who care about it the most: lobbyists and single parent groups … and for people to learn how to use the film to get things moving [for single mothers], perhaps through a think tank,” he said.

Since debuting at the Yokohama International Film Festival in May 2023, “The Ones Left Behind” has scooped up several accolades including Best Documentary Award Winner at Miyakojima International Film Festival.

McAvoy’s success so far with his first feature documentary has led him to consider his next project, which he expects will illuminate another social issue in Japan.

“I’d like to look at child suicide. In 2022, 514 children aged 18 or under committed suicide. These are things that need to be brought to light,” he said.

The documentary will play at cinemas as K’s cinema in Shinjuku, Tokyo, from Nov 6-19.

For more information, visit https://onesleftbehind.com/

© Japan Today