“Ha-Chan, Shake Your Booty!” is a dance-driven drama that blends grief, passion, and unexpected moments of joy in a story set largely in Tokyo. Directed by Josef Kubota Wladyka, the film premiered at the Sundance Film Festival earlier this year and features Rinko Kikuchi in the lead role.

Kikuchi portrays Ha-Chan, a dancer who faces profound loss when her husband and dance partner, Luis, played by Alejandro Edda, dies suddenly during a competition. Isolated in mourning, Ha-Chan withdraws from dancing until urged by her sister and cousin to return to the studio. There, she becomes drawn to Fedir, a new teacher portrayed by Alberto Guerra. The film traces Ha-Chan’s emotional journey through dance, depicting phases of grief, obsession, and renewed passion.

Kikuchi, known for her roles in films such as “Babel,” undertook months of preparation to convincingly portray a ballroom dancer. Under the guidance of choreographers Miri Murano and Chikako Takemoto, she engaged in intensive dance training and rehearsal camps prior to filming. Drawing inspiration from both her character’s arc and Wladyka’s mother, a professional ballroom dancer who raised three sons alone, Kikuchi sought to embody the emotional depth required beyond technical dance skill.

Wladyka emphasized the importance of conveying emotion over precision. He encouraged the cast to embrace imperfections in choreography if it meant delivering authentic performances. His approach is evident in several key scenes that combine traditional ballroom with unexpected dance elements.

One poignant scene captures Ha-Chan and Luis performing a competition rumba, their movements reflecting deep trust and connection. Another juxtaposes grief and tenderness as Ha-Chan shares a slow dance with a large black crow figure—a surreal, symbolic motif reminiscent of Japanese Noh theater.

The film also features a spontaneous bachata flash mob set to Leslie Grace’s rendition of “Be My Baby,” in which the narrative shifts abruptly from a street altercation to collective dance, symbolizing Ha-Chan’s growing infatuation with Fedir. Wladyka described this sequence as illustrating how dance transcends cultural and geographic boundaries.

Additional sequences include Ha-Chan’s hesitant return to the studio where she imagines a rumba with Fedir, capturing the classical spark of romantic fantasy. The closing scene follows Ha-Chan on a commuter train, where she gradually moves from reserved listening to dancing openly among passengers to an acoustic version of the Cranberries’ “Dreams.” This final moment is presented as a metaphor for moving forward through life’s transitions.

“Ha-Chan, Shake Your Booty!” is currently playing in theaters, offering a distinctive exploration of dance as both narrative device and emotional outlet.