Extraordinary. Contemplative. Soul-stirring. Awe-inspiring.

The Japanese film “Departures” brought these words to mind at opening night of the Japanese Film Festival. The three-day festival began Friday at 8 p.m at the Crest Theater with showing the solo feature film "Departures" followed by double features, “K-20: Legend Of The Mask” and “Throne Of Blood” on Saturday, and “White On Rice” and “Memories Of Matsuko” on Sunday.

The festival started out with the shocking film “Departures” Friday night. That’s right, I didn’t say “The Departed,” as in the Martin Scorsese movie. With a title like “Departures” and perhaps without reading a synopsis, audiences would have been clueless as to what the film was about.

“Departures” is not about a travel agency. It's about preparing the deceased for burial.

“No matter who we are, where we are, no matter what we’re doing … If it is of value, if it is a encofineer, it is an honored position,” said Barbara Kado, Sacramento Japanese Film Festival committee chairwoman.

This deeply contemplative film gave viewers insight into the Japanese profession of undertaking, or also called “coffineering.” The film also exposes the taboos toward the occupation. “Departures” addressed universal themes such as love, living and death.

The film introduces audiences to cellist Daigo Kobayashi (Masahiro Motoki), who just lost his dream career playing in the symphony. Daigo is forced to sell his prized cello and he and his wife return to his childhood home, which he inherited from his mother. Daigo responds to a job advertisement that calls for Working With Departures. He thinks the job is with a travel agency but it's really as a nokanshi otherwise known as an encoffiner. The occupation is not respected but pays extremely well.

In the beginning, Daigo struggles with the process. Eventually, though, he learns that the ceremony shows honor and respect for the deceased, and comforts grieving families. The film’s humor provides a break from the heavy subject matter. “Departures” illustrates encoffineering with deft grace and unwavering calm. The film portrays encoffineering as a rewarding, sacred and honored occupation.

There was some laughter during "Departures," but there also were sniffles during the emotional scenes.

The chief “nokanshi,” Sasaki (Tsutomu Yamasaki), said, “We do Islam, Christian, Buddhist, Hindi,” emphasizing that life is a cycle. Another line in the film underscores the point: “Death is a gateway. Dying doesn’t mean it’s the end.”

The ending of the film was emotional. As I fought tears, I thought of paying last respects to members of my own family. The careful preparation, the sentiments and detail carefully shown in this film display a deep reverence for the dead.

At the film's end, one gets a sense that this nokanshi is a travel agent of sorts.