Atsushi Funahashi is a name that is cropping up more and more on this blog. He first came to prominence with his 3.11 documentary Nuclear Nation which premiered at last year’s Berlin International Film Festival. He came up again with this year’s Berlin International Film Festival with his latest film Cold Bloom which looks to be a great drama which also uses the 3.11 disaster as a background. Indeed, it is one of the films released earlier this year that I wish to watch most.
Well I’ve got great news for cinephiles interested in Japanese films courtesy of the Japan Foundation UK because Atsushi Funahashi will be in London at the end of the month with his to give a talk!
Here are the details:
Atsushi Funahashi is one of Japan’s celebrated up-and-coming filmmaking talents emerging on the global stage. Having started making films in the United States, Funahashi’s Office Kitano produced film Big River (2005) was his first of four consecutive films selected for the Berlin International Film Festival, and his career has developed steadily since. Following the disaster of 11 March 2011, Funahashi made the bold decision to explore the sensitive subject through documentary in his Nuclear Nation (Futaba kara toku hanarete, 2012), and his Mikio Naruse inspired humanist drama Cold Bloom (Sakura namiki no mankai no shita ni, 2013), a feature film which was originally planned to begin production weeks before 3.11, but altered its course due to the unprecedented incident.
Prior to the screening of Nuclear Nation as part of the Open City Docs Fest, Funahashi will talk about his filmmaking career to date reflecting on his dual experience as a competent storyteller and a documenter, as well as working in a different country. Considering what the driving force is behind his films, Funahashi will also discuss what he is aiming to achieve and more recently his intention in pursuing the subject of the Tohoku earthquake through his films.
The event offers a rare opportunity to hear from a versatile director with a global perspective, whose future career will be worth watching out for.
This event is free but booking is essential. To reserve a place, please contact firstname.lastname@example.org with your name, details and those of any guests.
I remember the morning of the Great East Japan Earthquake quite vividly. I finished work early and watched the unfolding disaster online. It was terrifying and it was bewildering and it seemed so overwhelming. I also remember the (ani)blogging community coming together quick sharp to relay news and to set up charity appeals. The charity appeals are still needed as rebuilding is moving slowly and people are still displaced which is why I posted about a Japan Foundation film event on the anniversary earlier this week. It is strange to think that the disaster was two years ago because it seems closer and I suspect that the reason it still seems so close is because of the many films that have use it as subject matter.
One of the things I do on my blog is write up trailer posts for most of the Japanese films released in cinemas and for the films touring the festival circuit. Through doing this I have seen that Japanese filmmakers are intensely interested. Not a month goes by without two or three titles and with the recent anniversary the number of films has intensified. The range of filmmakers covers documentarians, directors who are better known for horror films and bleak dramas (bleakies as fellow film-blogger Alua calls them), veterans and directors making their debuts. It stands in complete contrast to other disasters and countries. How many films are there directly or indirectly about Hurricane Katrina （a handy wikipedia list)? There are probably more because The Bad Lieutenant: Port of Call New Orleans isn’t present in that list but still it just does not compare to the efforts that the Japanese filmmaking community has made to highlight document disaster and the continuing problems. Whatever the case, I present this list to you. I can’t claim that it’s exhaustive but it’s somewhere to start. It is shows how unique cinema can be and it is something we can use to remember the event and the impact it had on people’s lives and hopefully chart the recovery of the region.
This was the directorial debut of Kokatsu. When preproduction of the film was finished in early 2011 and funding was secured from the Fukushima government the Tohoku Earthquake and Tsunami struck. After initially suspending the film the filmmakers continued with production and donated some of the profits to charity. The film is a mix of heartfelt drama and light comedy that comes with the role-swapping like finding out a girl younger than you used to be your mother in a past life. It centres around a diverse group of people who are all lonely and struggling in life. They meet in Fukushima where they discover that they were a family in a previous life. At first uneasy with each other, the more they talk the better they feel about their problems and their bond grows but their time together remains short as they must soon leave.
Himizu is Sion Sono’s adaptation of Minoru Furuya’s manga of the same name and the only film on this list I have seen. I was in tears at the end. Sono takes a manga already full of anger and tough subject matter like child abuse and murder, and weaves in the Tohoku earthquake and tsunami to create a film which is ultimately a moving exploration of life, identity, redemption and the will to live. I’m quoting my review now. Here are more quotes “Sono hammers the references home with scenes of actors wandering around the disaster hit areas complete with the skeletal remains of buildings and mounds of rubble surrounding them. The sight of the destruction is a terrifying testament to the power of the disaster. The scenes are accompanied by the sound of Geiger counters and a menacing rumbling reminding us the events even more. It feels like a natural part of the film and added to the theme of enduring whatever life throws at you.” I would consider Himizu to be one of the best films I saw last year.
Junior high school kid Yuichi Sumida (Sometani) wants a quiet life but his mother (Watanabe) comes home with different men every night, and his drunken, hate-filled father (Mitsuishi) only pays him visits when he needs money. Yuichi carries on running the family boat rental business and lives surrounded by homeless people who are victims of the tsunami. Meanwhile at school he is ignoring class-mate Keiko Chazawa(Nikaidō) who has a massive crush on him.Things get tough when his mother abandons him and Kaneko (Denden), a Yakuza loan-shark, shows up looking for Yuichi’s father and ¥6 million. Pushed to breaking point by his situation Yuichi finds himself unable to control his anger and a series of events leads him to the brink of madness.
Masahiro Kobayashi, writer and director of grim films like Bashing is back with Women on the Edge which stars Miho Fujima (Ju-On: The Grudge, Tajomaru), Yuko Nakamura (Blood and Bones), and Makiko Watanabe (Himizu,Love Exposure).
The three Onodera sisters return to the home of their deceased parents’ in Kesennuma, Miyagi, a place affected by the Tohoku Earthquake. The house has survived the earthquake and tsunami and the three are looking to claim an inheritance. Nobuko (Nakamura) moved to Tokyo and is a divorcee, Takako (Watanabe) moved to New York and works as a butoh dancer. Third sister Satomi (Fujima) stayed behind. There are deep resentments and over the course of the film they will come out.
Starring: Kiki Sugino, Yukiko Shinohara, Takeshi Yamamoto, Ami Watanabe, Ami Watanabe, Yu Koyanagi, Makiko Watanabe, Maho Yamada, Susumu Terajima, Maki Nishiyama, Kotaro Shiga, Kanji Furutachi, Yuko Kibiki, Yuya Matsumura,
This is a film which covers the March 11th earthquakes. This is another fiction film addressing the March 11th Earthquake and Tsunami following Women on the Edge, The Ear Cleaner and The Land of Hope. It is written and directed by Nobuteru Uchida (Love Addiction).
Saeko (Sugino) and Yukako (Shinohara) are neighbours in a Tokyo apartment complex. Following the March 11thTohoku Earthquake and Tsunami both find their lives affected by newfound fears. Saeko is undergoing a divorce and fears her daughter may get radiation exposure. Yukako also fears the radiation and asks her husband to move. When Saeko saves Yukako from suicide, the two become close.
An indie film which deals indirectly with the effects of March 11th as we get the real life story of an old movie theatre in Ginza, Tokyo was closed in March. It stars Shota Sometani (Himizu), Kumiko Akiyoshi (Deep River), Kyoko Kagawa (Shall We Dance?) and Kumi Mizuno (Godzilla Final Wars).
Kumiko (Akiyoshi) is the manager of the Ginza Shinepatosu and she has a younger husband named Shota (Sometani). The movie theatre faces closure following the Tohoku Earthquake and Tsunami of 2011 due to safety fears. As the final day approaches, Kumiko’s anxieties over earthquakes and radiation grow.