Kamata Prelude is the brainchild of Urara Matsubayashi (lead actress in The Hungry Lion) who produced as well as took a lead role. She gives a portrayal of a struggling actress named Machiko who lives in the Kamata area of Tokyo. A four-part omnibus film, each section revolves around her in some way and aims to depict what it means to be a “woman” and an “actress” in society, but they are done in the unique style of each of the four directors.
Two of the directors are guys you may have heard of if you follow film festivals. Book-ending the film are Ryutaro Nakamura, whose works like Plastic Love Story and Silent Rain are full of lyrical imagery, andHirobumi Watanabe, who has built a filmography based on his stories all being set in his native Tochigi prefecture and shot with distinct monochrome visuals while being shot-through with dry humour. The newer directors are two young women, Yuka Yasukawa, one of a number of emerging talents tapped to helm a section in the omnibus film 21st Century Girl, and Mayu Akiyama, whose debut work, Rent a Friend, won the MOOSIC LAB Grand Prix and was screened at the Tokyo International Film Festival 2018.
While Watanabe and Nakamura made sections that are delightful reveries about life and a love of movies/culture (albeit, tinged with melancholy in Nakamura’s case), Yasukawa and Akiyama provided subjects that feel more keyed in to the thorny issues of life as a young woman. Yuka Yasukawa gives a #MeToo story wherein Machiko goes to a casting call and finds herself facing a grossly exploitative panel of guys alongside a defiant fellow actress played by Kumi Takiuchi (It Feels So Good,Greatful Dead). Meanwhile, Akiyama’s section felt like a realistic depiction of a get-together of girls wherein false masks and the anxieties that women bear in society are exposed in an onsen in Kamata. This section is full of great actresses who are making waves in the entertainment world like Mayuko Fukuda (Good-Bye) and an especially acerbic Sairi Ito (Love & Other Cults).
Sat with Matsubayashi and Akiyama at a rooftop bar, I enjoyed a lively talk with two intelligent and resourceful creatives who I felt would be making big things in the future. Their film is a refreshingly hip and contemporary set of stories where its unique approach to style and subject-matter rendered their address of important issues enjoyable, nuanced, and relevant for our age.
This interview was done at the festival and via email with their help and the invaluable help of Takako Pocklington who translated and added some interesting comments.
My final interview at this year’s Osaka Asian Film Festival (OAFF) was with director Anshul Chauhan. We had first met at OAFF 2018 when he participated an interview following the Japanese premiere of his debut feature Bad Poetry Tokyo. This year, he was back with his sophomore feature Kontora, which came to Osaka after having won the Grand Prix for the best film and the award for Best Music (for composer Yuma Koda) at the Tallinn Black Nights Film Festival a few months earlier.
Kontora was one of the stand-outs of OAFF 2020. Majestically shot in black and white, it’s bursting with feelings of discontent felt by the main character, high school girl Sora (Wan Marui). Drifting away from her distant father (Taichi Yamada) and living in a dull town, she finds hope in her recently deceased grandfather’s wartime diary after her beloved relative passes away as she finds clues to some “treasure” buried in a forest. Just as a treasure hunt starts, a mysterious vagrant (Hidemasa Mase) appears in town. Mute and walking backwards, he is a strange sight but his presence forces a change in the relationship between daughter and father. A strange family drama unfolds with a tone halfway between elegiac and angry with a sheen of mystery and history linked to the “treasure” and family dynamics that rope in a greedy uncle (Takuzo Shimizu) and a cousin named Haru (Seira Kojima).
Chauhan and his wife, the film’s producer Mina Moteki, sat down to talk about the film and explain more about its creation, the work put in by the actors and his wider film career. This interview was first conducted at the Osaka Asian Film Festival and then via email and has been edited for length.
Bleached Bones Avenue is director Akio Fujimoto’s follow-up to his drama Passage of Life (2017). It is another film that looks at the shared links between Japan and Myanmar but this time, instead of a family drama, it is unearthing history.
Deep in the hills of Myanmar’s Chin state, Fujimoto and his crew met with a group of people who are dedicated to recovering the bones of Japanese soldiers who died during the Imphal campaign. It was a reckless attack by poorly supplied soldiers who were forced into a gruelling retreat through tough terrain and severe monsoon rains. Beset by malaria and dysentery, a lack of food and medical supplies, many men became sick and many perished, their bodies decomposing in the places they fell. The route they took became known as Hakkotsu Kaido, Bleached Bones Avenue in English. The local hill tribes who experienced these events have passed on their memories to their descendants who Fujimoto and his crew observe for this 16 minute film that connects past and present in a unique way.
The film’s director Akio Fujimoto, actor and cinematographer Kentaro Kishi and producer Kazutaka Watanabe sat down to discuss their work and went into fascinating detail.
This interview was conducted with the help of Kazutaka Watanabe’s lively interpretation.
Takeshi Kushida’s feature debut Woman of the Photographs garnered great word of mouth at the Osaka Asian Film Festival 2020. Taken with Daisuke Miyazaki’s Videophobia, it was one of two films at the festival to tackle the idea of technology and social media connectivity and how they distort our view of ourselves. While the former trod a distinct techno-horror path that won it fans, Woman of the Photographs earned buzz with its kinder, almost comedic love story between two characters stuck in the past.
When misogynistic middle-aged photographer Kai (theatre actor Hideki Nagai) meets a former ballet dancer turned social media star named Kyoko (played by the dancer/actress Itsuki Otaki), a strange relationship develops as he leaves his cloistered life and gets sucked into retouching her images after she gets a particularly nasty scar. This forms the basis of a battle Kyoko engages in as she wrestles with whether to show her true self to the world or maintain a fake idealised image. Scars of the body and mind are literally and metaphorically poked and prodded for icky effect to create a story pertinent to our age, how our truth is eroded for fiction, but a seemingly unlikely love promises to snap the two out of their restrictive ways of thinking and save them.
Imaginative visual and aural design helps to create an atmospheric story. Takeshi Kushida took the time to talk his assured debut at the festival.
Noriko Yuasa is a director who hails from Okayama, Japan. She graduated from Tokyo Metropolitan University with a BA in Architecture before she entered Kinoshita Production, in 1999, to train as a TV Drama Director. In 2013, she went freelance as a director/producer and, since then, she has worked in both TV drama and film, specializing in project planning, directing and producing.
2015 saw her make her theatrical feature film debut, Udagawacho de matteteyo (Wait in Udagawacho), a romance which was released nationwide. This was followed by a brace of short films which showed growing confidence in her visual storytelling and approach to narrative construction, starting with Looking For My Sunflowers(2014), a story of a salaryman experiencing a shot of nostalgia in his hometown. This was followed by Girl, Wavering(2015), which used contrasting colours and poetic imagery to initiate severe tonal changes in a dramatic story of a high school girl’s life. The next film, Ordinary Everyday(2017), was a psychological horror set in downtown Tokyo that used visual and aural tricks like suddenly swathing the screen in vibrant colours to create an off-kilter atmosphere with ambiguous threats that burst out in a bonkers climax.
Yuasa’s works all feature vibrant use of colors and this factors in with her latest work, Coming Back Sunny, a short film about first love as experienced by a color-blind schoolgirl which pops and fizzes with different colors that are used to emotionally expand the story. Yuasa recently raised funds through Kickstarter to help pay for festival fees to bring the film to more audiences around the world but this campaign came at the start of the Covid-19 crisis which saw film production and exhibition around the world postponed, cancelled or forced to go online. This was something of an unprecedented event for the global film industry and so, this interview, conducted by email, was a chance to talk about the film as well as find out how the crisis has affected Yuasa’s project, and the importance of festivals.
At the Osaka Asian Film Festival 2020 were two veteran pink film directors: Hideo Jojo and Shinji Imaoka. Both had brought dramas far away from what many might have expected of them. The former, a bit of a journeyman director, had made a teen-centric movie centered on baseball and a cast of characters looking to the future while the latter delivered a heartfelt drama about the passage of time.
Reiko and the Dolphin is a film that speaks of the aching loss of a loved-one. Adapted from a scenario Imaoka wrote just after the 1995 Great Hanshin-Awaji Earthquake, it’s Japanese title is even more poignant and direct to the subject-matter: Is Reiko There? The story involves an ordinary couple, Ichiko (Aki Takeda) and her writer husband Tasuke (Hidetoshi Kawaya), who lose their daughter in the earthquake. We track their lives over 25 years as the two experience ups and downs, life and death. Thoroughly normal experiences that run the range from gently amusing to harrowing. Reiko’s presence haunts them but Imaoka handles this downbeat subject matter with grace and a philosophical air.
Shinji Imaoka kindly sat down to talk about the genesis of the movie and how it was made just before the 25th anniversary of the earthquake. This interview was conducted with interpretation from Keiko Matsushita and Takako Pocklington.
Where did the idea come from?
I became a director in 1995. I had been an assistant director for pink films and then became a director in 1995. At that time, it was kind of a trend among pink films to contain actual events and my seniors such as Director Takahisa Zeze and Hisayasu Sato also adapted real events into their films. There was the earthquake that occurred in the same year as I became a director, then I wanted to use it as a theme of a film. That was my initial motive.
You are famous for pink films but this film is dramatic. Why did you choose to making it in a dramatic style?
After the earthquake disaster in 1995, I wrote a scenario and released it to a pink movie company at that time. However, my proposal wasn’t accepted because the company president said that he doesn’t’ like films with a storyline with a child’s death. And over twenty years later, I was offered backing by someone who would sponsor me to make a film on whatever subject I wanted to do. Then, I dug up my old project and rewrote the script for an independent film not for pink film, that’s why I shot this as an independent film.
So this originally started as a pink film, then became a drama.
I had originally written it as a story in the aftermath of the earthquake, but now twenty years after that, I had the idea to depict time from the view point of a married couple who had experienced the earthquake. Like, “What have they been doing for these twenty years?”
Very impressive. You covered so much time. It felt like the actors aged over the film. Was that the only intention, to cover 25 years of their lives?
Yes, but the budget was very little, it was impossible to create production design of the past and the present or take twenty-five years to shoot with the same actors so I tried to shoot in places where things haven’t changed since before the earthquake and have remained as it is. I took a whole year to shoot it in different seasons which would convey the flow of time. I shot it whilst thinking about how to portray time.
Do you think that coming up to the twenty-fifth anniversary since the disaster, was it easier to get the film made?
Well… I thought about what it would mean to depict time. I thought it wouldn’t be like simply using effects by production design. It has also been twenty-five years since I became a director. There are lots of changes in my life as well—like I got married and had children. I didn’t have any intention to make some kind of anniversary film for the disaster. It doesn’t need to be a big historic event. I just wanted to portray the lives of ordinary people who weren’t spotlighted in the history, who just keep getting on with their life after the disaster.
Repetition happens a lot…like Ichiko always marries a writer. It felt like the characters were stuck in a circle. And the dolphins just swam around the circles.
I didn’t even think about it. I did it unconsciously.
What would you describe the theme of the movie as?
I don’t have any strong theme in this film. However, when losing a good friend or someone precious, I would be at loss what to do for the rest of my life. People often say, “Try to forget about her/him and get back on track” but I think that would be wrong. I want to keep remembering her/him forever. The important thing is to keep going with your life without forgetting your loved one.
I felt like, at the end of the film, the characters, the parents Tasuke and Ichiko could finally move on from losing Reiko but only after lots of repetition. There is a different character, Hiroshi, who remains unchanged and seemingly unaffected by events. What is his meaning in the film?
When you depict a long track of time like twenty-five years, you will show how everything has changed, but I thought it would be nice if there is someone who would never change. He is not exactly a fairy but I thought that it would be a great relief for us to have a presence like him. This person has existed since the universe was created and will exist forever. I wish we could have someone like him, it would be fine even having him just passing by. Actually, by the way, he is a friend of mine, I asked him to be in the film.
One of the fun characters. Again it fits in with the idea of repetition.
Wow, you are very observant.
How different is this from pink films you shoot.
Pink films are commercial films. You should shoot a film within a time-frame and in a certain place, and it is very limited so it was challenge for me to express what I like under these limited conditions. On the contrary, I was able to do whatever I want and take plenty time to shoot it this time. Those are the differences of my stance on shooting between this film and pink films. Funny enough, but I found it rather difficult to shoot this, I didn’t know where to start it.
I read a 2014 Japan Times interview for The Woman of Shinjuku. You described the difficulty of working in the Pink film industry. How would you describe the industry now?
It is getting scaled back. There is not much demand for the work, so everyone works on it whilst doing other jobs. It is a pity because pink films are a unique genre, a bit different from adult videos. The industry is declining.
So you are going to move more into dramas?
I am not bothered. Film making keeps changing. I used to shoot films with 35 mm film but now I do it with digital. Like independent films, you could make interesting things with any kind of medium. You could even shoot by iPhone. I would be willing to do whatever if I found something interesting.
Like with the film Tangerine.
And also I like women and like shooting their naked bodies.
There is at least one scene like that in this film. How did you go about casting the film?
I myself live in Tokyo, so I thought it would be very difficult to shoot in Kansai for a year. I thought it would be tricky to take actors or staff from Tokyo to Kansai with me so I decided to cast people who live in the Kanasai area. I put some adverts on the internet and in local notice boards and had a public audition.
Why did you cast the actors for Ichiko and Tasuke?
I auditioned. I met about seven people and had a chat with them and chose those actors. I felt as if they approached me rather than I chose them. I felt like those roles fit them.
You know what I mean? Let me see…when you enter a shop and choose something, you may have a feeling that some items would appeal themselves to you to buy, as if saying “Please pick me”.
Just judging by their energy. What would you hope audiences to take away from the film?
Maybe you will experience ups and downs in your life, but to be alive is a great thing. To live is fun. We all die some time, everyone will die some time and your everyday life won’t always be smooth and fun. Even though I feel like that I still want to speak out loud and say that life is fun. I would like audiences to spend their life with the feeling that it is great just to be alive. The time you watch the film is a great time but also the time you are able to watch it is a great time.
Atsuro Shimoyashiro was at this year’s Osaka Asian Film Festival with The Modern Lovers, a sexually explicit story about two former lovers reuniting, raking over their past relationship and realizing their regrets. His path to the festival is an interesting example of an indie film warrior. After dropping out of college, Shimoyashiro studied at the Film School of Tokyo and has had an interesting career working in music and indie movies. He directed films like Walk in the Room (2016), which was selected for TAMA NEW WAVE and the Kanazawa Film Festival 2017, and Voyage Garden (2018), which was selected for O!!DO Short Film Festival. He has also produced music for films, including two by Shinji Imaoka, Long Goodbye: Private Detective Kurinosuke Furui (2017) and Reiko and the Dolphin (2019).
The Modern Lovers is something else. A hip movie with an atmosphere choked with longing, lust and a little bitterness. Due to the nudity involved and its brief story, it brings to mind the pink films of the Roman Porno genre despite being an indie drama. There seems to be some creative connection since legendary pink film director Shinji Imaoka makes a brief appearance in a bar scene and Shimoyashiro has collaborated with him. It may be tempting to see Shimoyashiro as a new generation of pink film director but he is firmly on the indie side of things, as he explained when he sat down to talk about The Modern Lovers and his inspirations. This interview was conducted with the help of translators Keiko Matsushita and Takako Pocklington.