The life of twenty-something woman Sakura (rising star Mayuko Fukuda) changes when she quits her office position and takes a job at a nursery. This impulsive decision puts her in the orbit of a girl named Ai whose father, Shindo (Kohei Ikeue), seems to be struggling to raise her without her mother around. Again listening to her inner impulses, Sakura gets involved with the two as she subconsciously works through various feelings related to her own fractured family. Little does she realize that this process will lead to the reconfiguriation of her relationship with her parents.
A minimalist psychological piece,Good-Byeis the third film from director Aya Miyazaki and it received its world premiere in the Indie Forum section of the Osaka Asian Film Festival 2020. One of the youngest directors at the festival, Miyazaki only started making films while studying at Waseda University where she learned under the supervision of Hirokazu Kore-eda and Tamaki Tsuchida. She currently works for a movie company but took time to appear at OAFF to introduce and discuss her latest film.
The interview was conducted with help from the interpreter Keiko Matsushita while the translation was made with the help of the interpreter Takako Pockington.
Yukari Sakamoto is an indie director who started making films while she was studying Philosophy at Sophia University. Her film Obake was part of MOOSIC LAB2014 and won the Best Actress and Musician awards. After that, she studied editing at the Tokyo University of the Arts, Graduate School of Film and Cinema where she majored in film and directed music videos. Since then, she has been the assistant producer on the the major feature Eating Women (2018) and directed part of the omnibus movie 21st Century Girl (2019).
Sakamoto’s latest work For Rei derives some of its details from the director’s background to create a deeply personal picture of a modern young woman navigating complicated feelings. The titular protagonist (An Ogawa) goes to philosophy class and lives with a kind boyfriend, but the trauma of her parent’s divorce has caused an ambivalence towards the people she should be closest to, and herself. This is a feeling that gnaws away at her over the course of the film which is shot in a subjective style to analyze this young woman’s attempts to understand herself.
Sakamoto sat down at the Osaka Asian Film Festival to talk about the making of the film, how she translated her background onto the screen and some of the design choices she made. The interview was conducted with help from the interpreter Keiko Matsushita while the translation was made with the help of the interpreter Takako Pockington.
Yan is the feature debut by Keisuke Imamura, a cinematographer who began his career by teaching himself to shoot independent films while studying at Nihon University’s Department of Fine Arts. After graduation, he apprenticed with KIYO and made his debut as a cinematographer at the age of 24, first with indies before moving on to bigger titles. An early collaboration with the director Michihito Fujii on Kemuri no Machi no Yori Yoki Mirai wa (2012) proved to be the beginning of a fruitful relationship as they would work together again on Tokyo City Girl (2015), Day and Night (2019) and The Journalist (2019). Imamura’s career has encompassed titles as diverse as the drama Phantom Limb (2014) and manga-extravaganza Teiichi: Battle of Supreme High (2017).
For his feature debut Yan (review here), Imamura retains the glossy look of his big films but uses it to channel the intimate story of a man discovering his roots and making it as sensuous as possible so we feel his emotions. Tsubame (Long Mizuma) is half-Taiwanese, half-Japanese and living a comfortable existence in Tokyo. However, a request from his father to track down his older brother Ryushin (Takashi Yamanaka) leads to the unearthing of painful memories of a family separation and his own alienation due to his dual-heritage status and the departure of his mother (played by the pop star Hitoto Yo). It’s a universal story that sees Tsubame find peace with himself and connect with a mother he never understood. Imamura sat down after the world premiere of the film at the Osaka Asian Film Festival 2020 and talked about its background.
This interview was conducted with the help of the translators Keiko Matsushita and Takako Pocklington.
Takuya Misawa hails from Kanagawa and is a graduate from the Japan Institute of the Moving Image. He worked on various film productions as crew including as assistant director to Koji Fukada on Au Revoir L Éte (2013) before making his debut feature with the Kanagawa-set relationship comedy drama Chigasaki Story (2015). Produced by Kiki Sugino’s Wa Entertainment, it made waves on the festival circuit for not only for its well-engineered story of a group of academics and students stuck together at a beach resort but also its directorial style which evoked Yasujiro Ozu. Four years on, Misawa’s second feature The Murders of Oiso demonstrates a complete change of tone despite again being set in Kanagawa.
Taking place in another seaside town, The Murders of Oiso is a noirish slice-of-life story set in the picturesque location of Oiso. It concerns how small-scale corruption is revealed when four friends, Tomoki (Haya Nakazaki), Shun (Koji Moriya), Kazuya (Yusaku Mori), and Eita (Shugo Nagashima) confront the crimes of the people around them and themselves after the death of an influential man in the town. The construction company they work for is used for illegal activities, Eita’s girlfriend far worse abuses are revealed.
Using a number of different narrators and multiple perspectives to reveal what is going on beneath the pretty exterior, the film features lots of twists, turns and social issues and asks for viewers to pay attention. Working with a Hong Kong film crew to create an unusual atmosphere for his actors, Misawa has made a unique and challenging film that brings the audience into worrying space. The film won the Japan Cuts Award at this year’s Osaka Asian Film Festival and it will play at the festival in New York later this year. Misawa took the time to have an interview to explain more about the story, creating the atmosphere and how he got his cast to perform.
If you travel to Kyoto then it is recommended you try travelling from scenic Arashiyama to the bustling city centre by the Randen trams. They cut through many areas and they prove to be the perfect setting for three intersecting stories in a film.
Randen: The Comings and Goings on a Kyoto Tram (review) features a writer named Eisei Hiraoka (Arata Iura) has travelled from Kamakura to Kyoto to research supernatural stories but, instead, relives memories of time spent in Kyoto with his wife; Kako Ogura (Ayaka Onishi), a shy local woman helps an actor from Tokyo named Fu Yoshida (Hiroto Kanai) practice speaking with Kyoto dialect; Nanten Kitakado (Tamaki Kubose), a high school girl from Aomori, who falls for a local train otaku (Kenta Ishida).
Quite unlike many other films screened in 2019, Randen revels in creating a magical atmosphere of heightened romance and folktales that could only take place in Kyoto. It was the opening film of the 2019 edition of the Osaka Asian Film Festival and it will play on the final day of Japan Cuts 2019 in New York. I had the chance to interview the director of the film, Takuji Suzuki, at Osaka and he revealed how the film was a put together with love and care by his team which included Kyoto University film students and local people living along the Randen line.
I conducted a number of interviews at the Osaka Asian Film Festival 2019 and they were published over at VCinema. This one was published on June 06th and it is with the director and star of the film Sisterhood.
With inequality on the rise worldwide and identity politics a hot topic issue, filmmakers everywhere have their work cut out trying to keep up with the changes in their respective societies and there is a desire on the part of this writer to see films that tackle these issues from Japanese creatives. More social realist dramas and politics, to be blunt, especially in an era where the rise of individualism and poverty unbalances traditional notions of collectivism. Takashi Nishihara is a name that has cropped up quite often in this regard. Born in 1983 in Toyama, he is a graduate from the Department of Arts and Film at Waseda University in Tokyo. His filmography flits between documentary and drama but he usually focuses on those who find themselves made outsiders by the status quo of society and does so with a social realist bent.
I interviewed a number of people at the Osaka Asian Film Festival and these interviews are being published over at V-Cinema. This one was the first to go online on April 23rd.
Akiyoshi Koba is a graduate of Taisho University’s Japanese Language and Literature course. He now works as a part-time lecturer at Nagaoka Zokei University and indie filmmaker. His oeuvre is a series of titles that my be low on budget but are big in heart and invention. Koba strives to find what is special in small-town locations, collaborates with actors who feel like they are drawn from everyday life but have some unique feature, and uses set dressing and costuming that exudes a DIY aesthetic. Works like Slippers and Summer Moon (2015), Psychics Z (2016), and Tsumugi’s Radio (2017) typically mix comedy and sci-fi as well as drama. They have a charming simplicity and a love for their characters.
His latest title, Nunchaku and Soul (2019) is a continuation of this lo-fi storytelling and it is his best work to date. It features a mismatched pair of middle-aged guys, a nerd named Numata (Masahiro Kuroki) and a soul man named Soma (Atsushi Takahashi), who are determined to change their lives for the better by entering a dance competition. The differences in character and their reasons for entering are mined for low-key drama and lots of belly laughs. It also features a funky soundtrack. Nunchaku and Soul was recently screened at the Osaka Asian Film Festival 2019 in the Indie Forum section. Despite its humble origins, it proved to be a hit with most of the audience who were treated to post-screening nunchaku demonstrations by lead actor Masahiro Kuroki and dancing given by director and cast.
I interviewed a number of people at the Osaka Asian Film Festival and these interviews are being published over at V-Cinema. This interview was the first to go online on March 28th.
Yoshinori Sato was born in Aichi, Japan on February 1975. After graduating from high school, he travelled to the US to study filmmaking at the University of Southern California. Since graduating, he has worked as a director in Japanese television while also making independent films. His film credits include Bad Child (2013) and Her Mother, which played at international film festivals including the 21st Busan International Film Festival and the Osaka Asian Film Festival 2017.
Sato returned to Osaka to give the world premiere of his documentary, Shinjuku Tiger, a fascinating look at a flamboyantly dressed and inspiring man who wears a tiger mask and, since the 70s, has practically lived in the bars and cinemas of Shinjuku as he pursues good films, beautiful woman, and delicious sake. It is all part of a fiction he has created to “spread love and peace” and the film shows the character in action as he works his normal job in newspaper delivery and goes on epic bar crawls that rope in celebrities and friends. This films borders on hagiography but gains depth as Sato uses the life of the man to examine the changes and events that Shinjuku has seen through the decades so we get some sense of the culture of one of Tokyo’s most famous wards.
Sato kindly gave an interview after the Q&A that followed the second screening of Shinjuku Tiger at the festival. The interview was conducted in English but we were joined by interpreter Keiko Matsushita who offered some interesting questions and insights.
I interviewed a number of people at the Osaka Asian Film Festival and these interviews are being published over at V-Cinema. Here was the first to go online on May 04th.
Momoko Fukuda hails from Ibaraki City, Osaka Prefecture. After studying at the Japan Institute of the Moving Image, her graduation work Goodbye Mother (2014) was selected by a number of Japanese festivals including the Yubari International
Fantastic Film Festival. In 2015, she took part in the New Directions in Japanese Cinema (NDJC): Young Filmmaker Development Project run by the Japanese government’s Agency of Cultural Affairs. It is designed to foster a new generation of directors who can bring new life to the Japanese film industry and Fukuda seems truly unique in her tastes. The resulting film, Dad’s Marriage (2016) (here’s my trailer post), was screened at international festivals such as Camera Japan in Holland where it stood out for its unique pacing and a story that challenges the norm of what people consider to constitute a family. She is turning it into a feature film, Oishii Kazoku, due for release in 2019. Her most recent works have been shorts, one a part of the omnibus film 21st Century Girl (2019) which appeared at last year’s Tokyo International Film Festival, and the other is the a rather offbeat Slowly which appeared at the 2019 Osaka Asian Film Festival.
Slowly is a slice out of the lives of two old friends. After their high school reunion, they drive back to some unspecified point, their conversation awkwardly hovering around questions about their past and future and the changes to their hometown. Their journey is stopped by a tennis umpire’s chair, which lies on the road. The two suddenly find themselves helping a third person carry the chair away and we watch as they lug the thing through a beautiful series of pastoral scenes and mundane small town shots while still talking about their lives. The film seems aimless and has a laidback rhythm because not much happens. But through conversation and behaviour, we can read a lot and it is interesting to wonder over the images and actors.
It reminded me of my 1990s childhood when a variety of European films from Rohmer or Aki Kaurismaki and stageplays by Beckett were on terrestrial television in the UK rather than squirreled away on some satellite channel. I ended up watching the film a few times and felt quite moved by the experience, sensing a certain longing, acknowledging the nostalgia for my past and some gaps in my present as I identified with the characters.
There were two screenings at OAFF and I caught the film’s first screening where the audience seemed to appreciate the experience. I was due to interview Fukuda and her producer Jumpei Inoue after the second screening. When I arrived at the cinema, I was told that one person had reacted negatively to the film at this second screening but, despite this, Fukuda and Inoue, along with two of their team, sat down with me. Undaunted and thoughtful, they kindly spent over 30 minutes talking about the making of the film and their inspirations.
Help with translation was provided by Keiko Matsushita while translation of the transcription of the interview was overseen by Takako Pocklington.
Kohei Takayama was born in Chiba prefecture in 1987. After graduating from Waseda University, he began making indie films such as Ni naru (2015) and Kudaranai kudaranai kono sekai (2016). He was at the Osaka Asian Film Festival to present the world premiere of his latest work, The Path Leading to Love (2018). The story is a downbeat tale of a talented manga artist wasting his skills thanks to alcohol. The main protagonist, Shosuke (Ippei Tanaka) lacks the ability to overcome his alcoholism even though it has ruined relationships with his family, his ex-girlfriend Sawako (Mika Dehara) and threatens his relationship with his current girlfriend Yasuko (Yumi Mukai). The story refuses to look away from the negative aspects of alcoholism and asks the audience to follow a man on his self-destructive path. What makes it a gripping watch is the powerful acting performances from the cast.
Kohei Takayama kindly gave an interview on the penultimate day of the festival at the press centre. Acting as interpreter was Kayoko Nakanishi who was invaluable in helping the conversation flow smoothly and always offering nuanced interpretation of what turned into a philosophical conversation based on the intelligent and thoughtful work of Takayama.