Member Login

Member Login

Username
Password *

FC HEADER

MISHIMA: THE LAST DEBATE


MISHIMA: THE LAST DEBATE
(Mishima Yukio vs. Todai Zenkyoto: Gojunenme no Shinjitsu)


 March 17, 2020
Q&A guests: Director Keisuke Toyoshima and novelist Keiichiro Hirano


FCCJ MishimaKM-8
Director Keisuke Toyoshima (left) and acclaimed novelist Keiichiro Hirano.  ©Koichi Mori

Yukio Mishima: the name still towers over the local literary landscape, especially when viewed from overseas. There is arguably no other Japanese writer whose works have been as widely translated, whose life — and death — have been as well documented internationally, whose controversial reputation has been subjected to such intense scrutiny.

No surprise, then, that many members of the audience who gathered at FCCJ to watch Mishima: The Last Debate had not only read most of his 34 novels (and/or his 50 plays, 25 short story collections and 35 books of essays), watched his film Patriotism, in which Mishima also stars, viewed Paul Schrader’s Mishima: A Life in Four Chapters or Koji Wakamatsu’s 11:25 The Day He Chose His Own Fate. Those with an enduring interest may have also read the essential biographies by John Nathan and Henry Scott Stokes, or Andrew Rankin’s authoritative Mishima, Aesthetic Terrorist: An Intellectual Portrait.

FCCJ MishimaFCCJ-5   FCCJ MishimaFCCJ-3
©FCCJ

No surprise, either, that several audience members had even been present at the University of Tokyo, where The Last Debate is set, or had firsthand experience of the film’s 1969 time period, 50 years ago, when student rioting was convulsing college campuses across the country.

The surprise comes with the revelation of discovering/rediscovering Yukio Mishima, the man. No amount of reading him/about him prepares the viewer for the charismatic rockstar figure who dominates 45 minutes of The Last Debate’s runtime, in long-lost footage of a historic verbal duel between right and left that has been restored to 4K, and forms the centerpiece of the riveting new documentary.

Mishima-1 2020 Mishima The Last Debate Film Partners
©2020 “Mishima The Last Debate” Film

Surprising, too, is the choice of director. As Keisuke Toyoshima (There Is No Lid on the Sea, Moriyamachu Driving School, Maniac Hero) admitted to the audience, “I’ve been making genre movies, so I was [quite amazed] when I got this offer. TBS discovered at the beginning of 2019 that they had this footage from the 1969 debate, and a TBS producer who was a classmate of mine at Todai was involved in planning a documentary about [the time period]. He wanted to hire a director who [hadn’t lived through it] and thought of me.

“The best-known image of Mishima comes from his controversial 1970 suicide,” he continued, “so a lot of people have this idea that he was an eccentric man with extreme thoughts. That’s the image I had before I started making the film. But the more I learned about him, the more my image changed. It took a 180-degree turn.”

FCCJ MishimaKM-10
©Koichi Mori

Award-winning novelist Keiichiro Hirano (“The Eclipse,” “Dawn,” “A Man”), who is often compared with Mishima for his acclaim at an early age and the intensity of his intellect, provides expert commentary in the documentary, and joined Toyoshima at FCCJ. “I wasn’t surprised at all by the footage,” he told the audience. “I read my first Mishima novel at 14 and became a big fan of his work. I’ve read all his books, I’ve listened to him on CDs and I read the book about this debate (“Toron: Mishima Yukio vs. Todai Zenkyoto,” Shinchosha, 1969), which I’ve cited in my own writing.

“I’ve also had opportunities to talk with many people who knew Mishima in person, like Tadanori Yokoo, Jakucho Setouchi and Akihiro Miwa. They all talked about how charming he was. Everything they told me was about the genuine, human side of Mishima. So the image I had of him was very similar to how he appears in the footage.”

Mishima-3 2020 Mishima The Last Debate Film Partners
Although accounts differ about whether all the students were members of Zenkyoto, one can't help wondering how they breathed.
©
2020 “Mishima The Last Debate” Film

How he appears is this: Vibrantly cerebral, nearly pulsating with intellectual energy and wit, effortlessly commanding attention from the 1,000 students who were at the University of Tokyo’s Komaba campus on May 13, 1969 to see him. He had been invited by the Zenkyoto (All Campus Joint Struggle Committee) to debate his rightwing views with its revolution-minded members, and Lecture Hall 900 had been declared neutral territory to accommodate the exchange.

At the time, Mishima had already founded the private Tatenokai (Shield Society) militia and trained them (using live ammunition, the film reveals) with the Japan Self-Defense Forces. (Unbeknownst to his soldiers, he had probably already begun planning a coup attempt at the SDF headquarters to restore power to the ‘Emperor,’ which would precede his suicide the following year.)

FCCJ MishimaKM-1
©Koichi Mori

Providing essential context before focusing on the Todai meeting, Mishima: The Last Debate opens with heartbreaking scenes of Tokyo under siege, as students, radicalized from protesting the Vietnam War and the US-Japan Security Treaty, occupied college buildings and demanded affordable tuition and greater autonomy. Rioting quickly engulfed campuses, culminating in the barricading and burning of Todai’s Yasuda Auditorium, which marked the beginning of the end for Zenkyoto, which had instigated much of the violence.

Their final united act was to invite the “anachronistic gorilla” — as posters at the door crudely depicted him — to defend his views. “I came to see if words are still an effective method of communication,” Mishima tells the students in his 10-minute opening speech, and proceeds to amuse, impress and engage his audience with the mental agility of a gold-medal gymnast. Beating back each counterargument with poetic logic, he never once condescends, antagonizes nor treats his audience with disrespect.

But then he seems to meet his match in a smiling young man with a Buster Brown haircut and a baby in his arms. For a good 15 minutes, the documentary circles around Mishima’s increasingly theoretical interchange with Masahiko Akuta (who would go on to become an experimental theater pioneer, working with the likes of Shuji Terayama), until a student yells, “This is all philosophical nonsense! I’m here to see Mishima get beaten up!” And while this never happens, for many audience members, the earth moved that day.

FCCJ MishimaKM-12
©Koichi Mori

This much is clear from many of the commentators whom Toyoshima interviews in the film — including Akuta himself (still blazingly brazen), former University of Tokyo students, former Shield Society members and of course, Keiichiro Hirano — allowing them to elucidate and expand upon the debate in ways that are extremely valuable.

“Before I started making the film,” recalled Toyoshima, I did a lot of research and read a lot of books about Mishima. Most of them start by asking why he died, why he had to die, what was the story behind his death. I didn’t want to add yet another interpretation to all those that have been done. Instead of looking at the debate from the point of view of why he died, I wanted to focus on his life.

Mishima-2 2020 Mishima The Last Debate Film Partners
A match made in philosophical heaven: Masahiko Akuta and Mishima  ©2020 “Mishima The Last Debate” Film

“The reason I included the footage [from just before his] suicide at the end of the film is because I felt there was an interesting juxtaposition to be made between the 1,000 students in the hall during the debate, when his words really seemed to be reaching them, and the 1,000 members of the Self Defense Forces, who did not accept his message. I thought that comparison could be very interesting.

“The other reason is that I came to realize I was making a film about those who happened to meet Mishima during their lifetime, not about Mishima himself. The more people I talked to who were there during the debate, the more obvious it became that their encounter with him had had a powerful impact on their lives. In some cases, it even seemed to determine the future course of their lives.

Mishima-4 2020 Mishima The Last Debate Film Partners
©
2020 “Mishima The Last Debate” Film

“So I included the suicide because I wanted to focus on how those people who spent the day at Todai on May 13, 1969 felt about his death, about his loss. It’s not about the meaning of his death, but about how his loss was received by those who were there.”

Inevitably, the FCCJ audience wanted to know how the filmmaker and the novelist felt about Mishima’s stated hope to reify Japan under the concept of the emperor.

Hirano dove right in. “Mishima’s attitude right after the war was very critical of society and the LDP. That’s quite different from today’s conservatives, who only want to praise Japan. He spoke about an ideal image of Japan that derived from his prewar education, which was centered on [emperor worship] when he was young.

FCCJ MishimaKM-6
©Koichi Mori

“But he also tried to adjust to what was happening in Japanese society, to separate himself from his early idea of the emperor. He was successful in that, in the sense that he became a superstar novelist and a frequent presence in the media. He wasn’t really aligning himself with a democratic society, but he did embrace the materialistic aspects of [Japan’s capitalistic culture]. But he was tired of this by his mid-30s and reverted to his earlier image of the ideal Japan, and its [abstract traditional essence] under the 'Emperor.'”

Added Toyoshima, “As you saw in the film, Mishima says to the students, ‘If you’d said ‘Emperor,’ I’d have joined you’ [in their cause]. I wanted to understand why he said such a thing, and that was one of the motivations for me to interview so many people. I would be curious to know what Mishima would think of our current definition of tenno, since the Heisei Emperor (who abdicated the throne in 2019) seemed to support the constitution and traveled around the country trying to help people heal (after tragedies like 3/11). The recent emperors seem to sympathize with leftwing ideals.”

FCCJ MishimaKM-99
©Koichi Mori

Toyoshima stresses that although Mishima wielded both pen and sword, it is the former that has had the greatest lasting impact. Rarely has a film captured the dynamic interchange of ideas and the power of language in quite so compelling a form. Mishima: The Last Debate is a timely reminder that words, wielded judiciously and meaningfully, will always triumph over swords; that there is always a common ground even when arguing political ideologies at opposite extremes.

Is it possible, Hirano was asked, for political discussion in today’s world to remain civilized and courteous? “I can’t generalize about the current situation,” he responded. “I’m around the same age as Mishima when he was debating the Todai students, so as much as they seemed to be on an equal footing, I still think there was the sense that [an adult was talking to students], and students were talking with a star novelist.

FCCJ MishimaFCCJ-7
©FCCJ

“But there was a kind of balance which made the debate very gentlemanlike, even when the students tried to provoke him. There was a power balance. Today, especially on the internet, it’s nearly impossible to have a constructive conversation like this between people of opposing opinions. But I think in the proper venue, it is still possible.”

Toyoshima concurred. “I hope this film and the footage of the debate will communicate the passion and respect that were present that day. You see how the opinions were exchanged, how close physically the debaters actually were as they talked. Making the film, I wanted to believe in Mishima’s opening remarks — that words are still an effective means of communication.”

And so, it goes without saying, do we.

Mishima poster 2020 Mishima The Last Debate Film Partners
©2020 “Mishima The Last Debate” Film

Selected Media Exposure

FUKUSHIMA 50


FUKUSHIMA 50


 March 04, 2020
Q&A guests: Kadokawa Corporation Chairman and Fukushima 50 supervising producer
Tsuguhiko Kadokawa, director Setsuro Wakamatsu and stars Koichi Sato and Ken
 Watanabe


FCCJ Fukushima 50Koichi Mori-16
Ken Watanabe (left) and Koichi Sato star in only their second film together.  ©Koichi Mori

It was not lost on the sizable crowd gathered at FCCJ for a sneak preview of Fukushima 50 that they were in the midst of one disaster (COVID-19) while watching another unfold onscreen.

Many of them had been in Japan on March 11, 2011 and had covered its aftermath. Some had even been able to speak directly with the engineers, technicians, firefighters, soldiers and other staff who stayed at the Fukushima Daiichi Nuclear Power Plant after the earthquake and tsunami had laid siege, risking their lives in a desperate 5-day struggle to prevent a total meltdown of the overheating atomic reactors and to minimize the (literal) fallout from the world's worst nuclear accident since Chernobyl.

Dubbed the “Fukushima 50” by the international press (but actually numbering in the hundreds), few of these brave workers — whether for fear of ostracism or reprisal — spoke on the record. But journalist Ryusho Kadota managed to interview over 90 of them, and their testimony was compiled in his 2012 nonfiction book, “On the Brink: The Inside Story of Fukushima Daiichi” (republished by Kadokawa Publishing in 2016).

FCCJ Fukushima 50Koichi Mori-5   FCCJ Fukushima 50FCCJ-7
©Koichi Mori

That book now forms the backbone of the powerful, poignant Fukushima 50, the first film that depicts the tragedy head-on and in minute detail. While fact-checkers are already sharpening their pens, there is no doubt that its nationwide release, just days before the 9th anniversary of the triple disasters, will open up an expanded public dialogue.

Appearing at the Q&A session following the screening, fabled stars Ken Watanabe and Koichi Sato discussed the timing of the release, their hopes for its impact and their own working relationship.

“When we’re in the throes of a national crisis like this,” Watanabe told the audience, “I think films, or at least this film, can give us an opportunity to reflect on ourselves, to reflect about the choices we’re making and which direction we should be heading in. I hope Fukushima 50 will provide an important opportunity to step forward into the future.” 

FCCJ Fukushima 50Koichi Mori-14   FCCJ Fukushima 50FCCJ-14
©Koichi Mori ©FCCJ

Recalled Sato, “When they first approached me with this project, I was wary. I thought it might be a little premature to come out with a film about Fukushima. It wasn’t long after the accident and there were still a lot of victims suffering from the experience. But after completing the film, we shared it with audiences in Fukushima. They understood there would be traumatic scenes, but they stayed until the end and thanked [director Setsuro] Wakamatsu for making it.

“So I went from thinking the film was premature to thinking that we’d made it just in time. It’s necessary for painful memories to fade, so that people can move forward. But you don’t want the memories to fade completely. Fukushima 50 creates an opportunity for us to reflect on the accident and in that sense, the timing is just right.”

The actors were flanked by their director, and by the chairman of Kadokawa Corporation, Tsuguhiko Kadokawa, who greenlit the project and served as its supervising producer. “I’d wanted to make a film based on the events of March 11 early on,” he told the crowd. “I had privately invested in a planned production with [late actor-director] Masahiko Tsugawa. But it was difficult [to move forward]. Then I read ‘On the Brink,’ and it pulled me back on track. We are approaching the ‘Reconstruction’ Olympics and Paralympic Games this year, and I wanted to complete it in time for that.”

FCCJ Fukushima 50Koichi Mori-13   FCCJ Fukushima 50FCCJ-9
Supervising producer Kadokawa (left) and director Wakamatsu. ©Koichi Mori, ©FCCJ

As for Wakamatsu, “What attracted me to this story was that it depicts all the strengths and all the weaknesses of human beings. There were all these workers who had to summon up the courage to volunteer to go into the reactor building. There are so many layers of vulnerability but also courage in these characters, and that’s why I was attracted to directing the film.

“Every year at this time, 3/11 has dominated the TV news, especially NHK. But I feel there has been less TV coverage recently, and I hope Fukushima 50 can be shown each year to encourage us to reflect on the pros and cons of nuclear power, among other issues.”

Wakamatsu’s film feels as tense as if it were unfolding in real time. Shot in sequence on a big open set in Suwa, Nagano, with 2,000 extras and some convincing computer graphics, it thrusts viewers straight into the harrowing eye of the developing disaster, and into the decision-making processes of the two men closest to the crisis, Toshio Izaki (Koichi Sato), chief of Fukushima Daiichi Nuclear Power Plant Units 1 and 2, and Plant Director Masao Yoshida (Ken Watanabe).

F50 finding tsunami 2020 Fukushima 50 Film Partners
Daiichi plant workers react to the approaching tsunami. © 2020 “Fukushima 50” Film Partners

Fukushima 50 begins precisely at 2:46 pm on March 11, as the magnitude 9 earthquake strikes off the coast of Tohoku, triggering immediate reverberations at the plant. As workers stream from buildings, Izaki and his crew try to determine what damage has been done, and where. His longtime colleague, Yoshida, assesses the situation from his office in another part of the plant, and communicates via videocam with Tokyo Electric Power Company (Tepco) headquarters.

But the quake has triggered a “mega-tsunami” with waves that will soon pour over a 40-meter-high seawall, engulfing the plant. Just 54 minutes after the temblor, Fukushima Daiichi experiences a station blackout, halting cooling systems and leading the reactors and spent fuel-rod assemblies to begin to overheat. Despite the remaining staff’s valiant efforts to keep equipment running with car batteries, the plant is soon running nearly manually, and technicians must risk radiation exposure to open valves the dangerous, old-fashioned way — wearing Hazmats and gas masks in utter darkness.

F50 1 2020 Fukushima 50 Film Partners
Izaki rallies his crew to assess the damage.  © 2020 “Fukushima 50” Film Partners

Working frantically to solve each fresh catastrophe as it emerges, and inspiring their workers by their own examples, Izaki and Yoshida confront the unprecedented crisis with tireless ingenuity and an occasional outburst that is fully earned. At one point, Yoshida drops his pants and moons his Tepco bosses in Tokyo. Eventually, his defiance of orders will help avert a disaster of global magnitude.

In a film that is as harrowing as it is moving, Sato and Watanabe shine. But their characters aren’t the only samurai at the plant; all the workers who stayed behind know they’re risking their lives, and Fukushima 50 celebrates their selfless sacrifices by depicting them in strength and weakness, in bravado and in teary-eyed relief. 

F50 Ken Watanabe 2020 Fukushima 50 Film Partners
Yoshida barks orders in the control center. © 2020 “Fukushima 50” Film Partners

The film provided the first opportunity in 7 years for Sato and Watanabe to act together (since Li Sang-il’s Unforgiven), and they were asked how it felt to be in the same film but almost never on the same set.

“There’s just one scene in which you see us together, and that’s in the toilet,” cracked Sato. After the laughter died down, he continued, “We shared many tense moments over that emergency red phone, and we gave a lot of thought about how we could convey the intensity of [those phone calls].

“We’ve both been working in the film industry for 40 years. There were many missed opportunities when we could have worked together. So it was a big moment when we could finally do Unforgiven together, and we managed to establish a relationship built on trust.”

Watanabe nodded. “It was definitely a challenging experience shooting Unforgiven, and we established a solid friendship. I remember Mr. Sato was approaching his 100th film at the time, and I told him I would work on his 100th even if it meant being a passerby in the background. But he made so many films so quickly, it just didn’t happen. 

F50 Koichi Sato 2020 Fukushima 50 Film Partners
Izaki before all hell breaks loose. © 2020 “Fukushima 50” Film Partners

“I’d actually received a few offers to play the plant director in other films before this one, but I’d felt it wouldn’t be enough to just depict Mr. Yoshida’s story. Then I read the script for Fukushima 50, which focuses on the character of Mr. Izaki, who grew up alongside the Fukushima Daiichi plant. When I saw how it was structured, I realized how dramatic the film could be. When I heard that Mr. Sato had been cast in the role, I immediately said I wanted to be part of it. I have complete trust in him as an actor.”

Asked how he had prepared for his role as Yoshida, who died in 2013, Watanabe answered, “Mr. Yoshida is the only character who goes by his actual name; the other characters have all been given new names. He was heavily covered by the media during and after 3/11, so I think that a lot of people remember seeing him. I knew it would be futile to simply mimic him, so I researched his background, his education, his career. But the most helpful thing for me was hearing from people who worked with him. They talked about how he responded to the accident, especially how he negotiated with the people at Tepco, in the government and how he tried to defuse the tension in the control center.”

FCCJ Fukushima 50FCCJ-10
©FCCJ
 

Thanking the team for a “challenging film,” one journalist asked the question on everyone’s mind: had they experienced any interference from either the government or from Tepco in making the film?

“We anticipated that we would get a question like this,” responded Kadokawa. “For 30 years, Kadokawa has been making films about social issues, like Jubaku: Spellbound, about (corruption in) the banking industry, and The Unbroken, starring Mr. Watanabe, which depicted an airline company (after the horrific crash of a jumbo jet, based on JAL 123). Many film companies avoid making such films in this era of sontaku (sucking up to the powers that be), in deference to certain parties or people.

“But it wasn’t our intention to make a film [condemning] a public utility, per se. The core message of Fukushima 50 is that we cannot conquer nature. As Mr. Watanabe’s character says in the film, human ego has made us disrespect nature. If the audience can take that message away with them, I would be very happy.”

Wakamatsu elucidated, “We didn’t hear any direct comments from the government. Maybe something was said behind closed doors, but we have no way of knowing. Personally, I received no pressure at all from the government. In fact, the Reconstruction Agency and the current prime minister were involved, and our former prime minister (Naoto Kan, who is depicted in the film), saw the film and I haven’t received any complaints from him. So I suppose there’s no problem.”

FCCJ Fukushima 50Koichi Mori-1   FCCJ Fukushima 50Koichi Mori-12
©Koichi Mori

Martin Fackler, Tokyo bureau chief of The New York Times in 2011 and the first foreign reporter to enter the Fukushima Daiichi plant after the disaster (his team’s coverage would later result in a shortlisting for the Pulitzer Prize), was one of the many FCCJ members in the audience who had firsthand knowledge of the events depicted in the film. Addressing Kadokawa, he said, “There are many versions of what happened in Fukushima, and the one you chose, by Kadota, is fairly positive. There are others that are more negative, and Yoshida left us his own version in the ‘Yoshida Chosho.’ Why did you choose the Kadota version?”

Responded Kadokawa, “It wasn’t until I read Mr. Kadota’s book that I realized there was a way we could actually tell the story. I felt that adapting his book would also allow me to realize Mr. Tsugawa’s dream. When you’re grappling with a theme like this, you have 100 people involved in the project and 100 different opinions. All we could do was stay true to the facts.

“It’s become increasingly complicated for the media to cover these issues, and we’re approaching a dangerous juncture when it comes to reporting through the media. In such an [environment], I think film may be a better medium for conveying the truth. Being a publisher myself, I still have this sense of respect and awe toward the medium that is film. I approached the project with the conviction that we were going to depict the facts, and I think we were able to do this.”

FCCJ Fukushima 50Koichi Mori-3 FCCJ Fukushima 50FCCJ-12
©Koichi Mori ©FCCJ

For his part, Wakamatsu was “quite confident that we could make an effective film that wasn’t just a chronological record of what happened, but was about the men who had to fight on the site. I felt it was an opportune moment to show the world what the Fukushima 50 were made of.

“I imagine that if the international media were asked what they would have done in that situation, face to face with death, many would answer that they would have fled. I suppose you could say that this sense of self-sacrifice or ‘Yamato spirit’ is a Japanese trait. It’s something that resonates throughout the film, and I wanted to share it with audiences.”

(There was no time to draw comparisons to first responders around the globe, who constantly put their lives on the line to ensure the safety and welfare of the community at large.)

But Fukushima 50 has already been sold to 73 international territories, demonstrating the universality of its remarkable story and the strength of its telling — so the dialogue about manmade disasters and the human toll is sure to expand.

FCCJ Fukushima 50FCCJ-17-2
©FCCJ

“I have a lot of friends living overseas,” noted Watanabe, “and I have the sense that the word ‘Fukushima’ has a very negative connotation. When we hear ‘Fukushima,’ it’s all about how Japan is still trying to come to grips with 3/11. We experienced Hiroshima and Nagasaki seven decades ago, and we’ve finally reached a point at which ‘Hiroshima’ and ‘Nagasaki’ have become words that prompt us to think about nuclear arms. They’ve become symbols of peace. In the same way, I hope that ‘Fukushima’ will prompt us to think about nuclear power, and that someday, the word has a positive connotation.”

His costar concurred. “A disaster like this is bound to leave a negative legacy,” said Sato. “But I think it’s very important to tell the story in an accurate way, and in the spirit of sublimating what happened so that we can leave a positive legacy for the next generation — as we were able to do with Hiroshima and Nagasaki. I hope Fukushima 50 leaves audiences with that kind of sentiment.” 

F50 2020 Fukushima 50 Film Partners
© 2020 “Fukushima 50” Film Partners

Selected Media Exposure

Selected TV Exposure

  • 日本テレビ【Oha!4 佐藤&渡辺】映画に込めた思い ”未来に向かうステップになる”
  • 日本テレビ【ZIP!】渡辺謙のメッセージ 国難乗り越えるヒント
  • TBS【はやドキ!】佐藤浩市&渡辺謙 絶対の信頼関係
  • フジテレビ【めざましテレビ】佐藤浩市 映画化に葛藤
  • MX【モーニングCROSS】佐藤浩市×渡辺謙『絶対の信頼関係』語る

FIRST LOVE


FIRST LOVE (Hatsukoi)


 February 25, 2020
Q&A guests: Director Takashi Miike and star Masataka Kubota


FCCJ First LoveKoichi Mori-1-
Kubota (left) and Miike reunite after a decade for a noirish love story... with comic elements.  ©Koichi Mori

If the FCCJ audience expected Takashi Miike to be as outrageous, outlandish or outré as many of his films, they were sorely disappointed. Appearing at the Q&A session following a sneak peek of his new film, he was gracious, thoughtful and on occasion, droll — reminding us that the artist and the art are not always made of the same stuff.

But it should come as no surprise that even the Godfather of Asian Extreme plays by the rules of civil engagement at home in Japan. That partially explains how the compulsively prolific auteur has managed to direct over 100 features (in every possible genre, including several that he invented), since 1991. These have justly earned him global adulation and notoriety; yet he is also a critics’ favorite, having won awards at every leading film festival from Berlin to Cannes to Venice to Toronto, and been more widely distributed overseas than any other Japanese filmmaker.

While he's provided plenty of instant ramen for fanboys over the years, Miike has also proven with numerous titles, from The Bird People in China to Hara-Kiri: Death of a Samurai, that he can produce restrained, humanistic works when the mood strikes. His latest, a violently pulpy action-comedy-thriller about a lonely boxer who finds a soulmate, gives us both sides of Miike: the sober, introspective romantic and the gleefully subversive bad boy.

FCCJ First LoveKoichi Mori-6  FCCJ First LoveKoichi Mori-10
  ©Koichi Mori

But First Love is no blushing romance. Told with hurtling kinetic oomph, it returns the director to noirish territory and features a familiar assortment of Miike lowlifes — drug smugglers and addicts, corrupt cops and cold-blooded killers, call girls and Chinese gangsters, sociopaths and screw-ups — all vying to survive anarchic gunfights, swordfights, exploding toys, flying cars and meth-induced delirium in Japan’s rotten underbelly.

In the film, Leo Katsuragi (Masataka Kubota) is an “unknown boxer with promise” who fights well in the ring, but has nothing to live for outside it. An abandoned orphan with a menial day job at a Chinese restaurant, he learns that he has a brain tumor and little time left. His doctor advises that he dedicate himself to helping someone else, and presto, he meets Monica (Sakurako Konishi), a sweet young meth addict haunted by the ghost of her abusive father, whose debts she has been forced into prostitution to pay off.

FL main2019 FIRST LOVE Production Committee
Leo saves Monica from the mob and the ghost who haunts her.  ©2019 FIRST LOVE Production Committee

The star-crossed pair are unwittingly enmeshed in a drug-smuggling double-cross hatched by minor hoodlum Kase (a hilarious Shota Sometani) and dirty-dealing cop Otomo (Nao Omori), and are pursued through a single chaotic night by an array of eccentric characters, including, mostly memorably, a rampaging gangster’s girlfriend, Julie (a kickass Becky), who’s out for brutal revenge after he’s murdered; and a female assassin working for the Chinese Triads (Mami Fujioka), who laments that there’s no honor or humanity among thieves anymore.

Kubota joined Miike for the FCCJ Q&A session. It had been 10 years since the two had worked together, on the heralded 13 Assassins. In the intervening decade, the director continued to work at a blistering pace, averaging two film releases each year, including two more with British super-producer Jeremy Thomas, Hara-Kiri: Death of a Samurai (2011) and Blade of the Immortal (2017).

FL6 2019 FIRST LOVE Production Committee
A pair of old-style yakuza share a smoke.  ©2019 FIRST LOVE Production Committee

Miike had played a part in establishing Kubota’s career, having cast him as the lead in his 2008 TV series, Cellphone Investigator 7. After that, Kubota’s rise was meteoric. Nearly as prolific as his director, he starred in dozens of TV series and films of every genre, including hit franchises like Rurouni Kenshin (2012, 2014, 2020), High & Low (2016, 2017) and Tokyo Ghoul (2017, 2019), as well as in Prophecy (2015), 64 (2016), Thicker than Water (2018), Gintama 2 (2018), Diner (2019) and Fancy (2020).

So how did it feel for them to reunite on the set of First Love? Said Miike, “I’ve spent the past 10 years working constantly, and it seems like it’s been the blink of an eye. I don’t feel the terrifying passage of time unless I look in the mirror. Meanwhile, Mr. Kubota now looms over me in the industry. God can be so cruel.”

FCCJ First LoveFCCJ-6  FCCJ First LoveFCCJ-5
©FCCJ

Chuckling appreciatively, his star recalled, “I was 19 when I first worked with Mr. Miike, and I really didn’t know left from right. Now that we’re working together again after 10 years, I feel like he’s softened somewhat. Even though he’s still wearing those sunglasses, he was spicier back then. He’s mellower now, and that’s made him more accessible and easier to talk to.”

Miike looked a little hangdog about this, but Kubota continued: “Once principle photography started, I realized what it is about a Miike set that makes all Japan’s leading actors want to work with him. When you experience other sets, it’s clear that Mr. Miike really is a grandmaster, and I realized how lucky I was to start my career on one of his sets.”

FL1 2019 FIRST LOVE Production Committee
©2019 FIRST LOVE Production Committee

The grandmaster was asked about Kubota’s costar, debuting actress Sakurako Konishi. “We auditioned unknowns,” he recalled, “and while acting technique and character motivation are important elements of standard auditions, for unknowns, it’s really about the presence they exude the moment they step through the door. With Ms. Konishi, I instantly sensed ‘That’s our lead.’ It’s like she was born to play this role.

“The same thing happened [in 2008], when we were casting the lead for Cellphone Investigator 7. When Mr. Kubota stepped through the door, I knew right away that he was the one.”

Kubota was also quick to praise the actress, telling the audience, “I still have a long way to go as an actor, but working with Ms. Konishi made me realize how much technique I’d accumulated through these years, the kind of technique that allows an actor to answer the question of what to do in a certain moment. Watching the way she approached the role, without a lot of technique, but with great agility, reminded me what it felt like 10 years ago. I just hope I can continue being a working actor 10 years from now, when Ms. Konishi is a big star.”

FCCJ First LoveFCCJ-2
©FCCJ

Kubota’s character in First Love is limited to fighting only with his fists, which proved to be effective. But Kubota admitted, “I was very envious of my costars, because it makes things so much easier to have a sword or a gun in your hands — you have ultimate power, don’t you? But in terms of physical preparation, I was the most prepared of all the cast. Since I play a boxer, I started training about a month before the shoot. I spent 2 hours a day in the gym every day, and I ate a lot of meat.”

Asked for his standout memories of the filmmaking process, Kubota recounted the many night shoots and the “car action scenes, with six of us crammed into a minivan, including Mr. Miike, with the car-action coordinator pushing the gas pedal. I kept nearly whacking my head on the windshield, so it’s something I’ll never forget.”

Miike was queried about working with Jeremy Thomas on his fourth project together. Said Miike, “He’s one of those rare producers who really understands the Japanese way of doing things and the Japanese approach. He left us to our own devices. During the editing process, he provided feedback. But ultimately, he left the decision-making to us. He’s a really rare producer in that respect, and I feel very lucky to work with him. I consider him a friend.”

FCCJ First LoveKoichi Mori-12
©Koichi Mori

But he noted, “The international version is cut slightly differently than the Japanese version; there are many things you have to take into consideration in Japan.”

There is a clever, colorful animated sequence in the film, and Miike was asked why it had been included. “Honestly speaking, there are a lot of restrictions on creative work in Japan,” he explained. “Japanese film has become [more conservative]. Most films are now ‘safe for viewing.’ One of the starkest differences between Japanese and international films is the risk factor, especially when it comes to action scenes. It’s not possible here anymore for young people to dream of being stunt performers, because the environment has changed. Most of the stunt people are veterans, over 60. So for a scene where you go over the edge like that, it does terrible things to your back and we couldn’t do it. But I was adamant about not cutting that scene from the script, and we ultimately made the decision to turn it into an animated sequence.”

Tom Mes, author of the two definitive books “Agitator: The Cinema of Takashi Miike” and “Re-Agitator: A Decade of Writing on Takashi Miike,” was in the audience and mentioned that the auteur had spent the past several years directing an animated TV series directed squarely at the female tweener audience. “Do you see this film as a sort of male-focused rebound from that?” he asked. “Or is it a continuation?”

FL3 2019 FIRST LOVE Production Committee
The double-crossing yakuza Kase and dirty cop Otomo. ©2019 FIRST LOVE Production Committee

Said the director, “One reason we came up with the title First Love and the tagline ‘Farewell to violence,’ is because we were hopeful that certain audience members would be misled into seeing the film.” (Cue laughter.)

“As Tom said, I’ve been working on this TV series that airs weekly and is aimed at young female viewers. We’re in our 4th season. It’s about using the power of love, rather than violence, to [overcome obstacles in life], and that’s a message I truly take to heart.

“For this film, though, I wanted to depict the lives of these outlaws who lead very foolish lives. My hope was to cast a glimmer of hope into them. Most directors stick to one genre and chew over the same themes in all their work. That’s not the case with me. One thing leads to another, and I’ve been given the opportunity to make many films. For all the genre-crossing, I’m always trying to grab at the heart of the characters. Regardless of the size of the screen, all the characters are the same at their core. They’re struggling through the same conflicts and trying to find the same kind of happiness. It doesn’t make any difference what genre they’re in.”

FCCJ First LoveFCCJ-8
©FCCJ

Film critic Mark Schilling, wearing a mask (as were many in the room), noted that COVID-19 had effectively shut down the film industry in China, with many distributors moving their releases online in order to continue providing content. “How do you feel about the future of theatrical releases vs. streaming?” he asked.

Miike grew somber. “With the coronavirus, we’re in uncharted waters, and all of us are grappling with ways to cope with it. But I’m not opposed to bringing work to people in their own private spaces, so they can enjoy it without having physical interactions with other human beings. I admit I watch films online, and it’s interesting that watching films in your own personal space allows you to view them in a different light.

“But in my own experience, I feel it’s really important to spend time not only with a film’s characters but with other audience members in a theater. When you share a space with other viewers, even when the theater isn’t crowded, it makes for [a richer experience.] That’s essential for me, personally. Formats will continue to change, but I hope theatrical releases will continue forever.”

The Japan release of First Love is uncharacteristically late, coming after the film has screened at nearly 30 festivals overseas and opened in Europe, the US and elsewhere. Whether the delay was planned or imposed, it will be interesting to see whether Miike — and his “looming” star — can attract a larger female audience despite all the rambunctious, hyperviolent fun.

FL 2019 FIRST LOVE Production Committee

©2019 FIRST LOVE Production Committee

Selected Media Exposure

Selected TV Exposure

  • 日本テレビ ZIP! SHOWBIZ 窪田正孝、再会した三池崇史監督は「鋭利なものが丸くなった」
  • TBS はやドキ! 窪田正孝・三池崇史監督が出席。「オレは10年で歳をとった、窪田くんはずいぶん出世した」
  • 日本テレビ Oha!4 NEWS LIVE 窪田が10年ぶりのタッグについて「緊張が解けたのか喋りやすくなった」
  • フジテレビ めざましテレビ 三池崇史監督は「窪田君は10年で出世した」と窪田正孝の活躍が嬉しい様子。 

BENEATH THE SHADOW


BENEATH THE SHADOW (Eiri)


 February 4, 2020
Q&A guests: Director Keishi Otomo and producer Masashi Igarashi


FCCJ EiriKoichi Mori-27-2
 Igarashi (left) cracks that it's a lot harder to make a film based on a prizewinning novel than it is to make one based on a manga,
which "Mr. Otomo has done time and again."
©Koichi Mori

Most of us know Keishi Otomo as the director and cowriter of the blockbuster Rurouni Kenshin trilogy, arguably the most globally successful samurai-swashbuckler franchise of our time. The first-ever Japanese helmer to sign a multipicture deal with Warner Bros., Otomo produced slick, big-budget, live-action adaptations of the popular manga/anime series that were instant classics for their mix of spectacular swordfights, slapstick humor and romanticism.

What we didn’t recognize from Rurouni Kenshin — or his other domestic box-office hits — is that underneath the polish of this world-class director, beats the heart of a poet.

But Otomo’s new film demonstrates just that. With his first arthouse title after three decades in TV and film, he takes a surprising turn toward the contemplative, the elegiac, the ineffable with Beneath the Mask.

 FCCJ EiriKoichi Mori-21
Otomo took time out from the final weeks of editing his summer Rurouni Kenshin releases.  ©Koichi Mori

Based on the 2017 Akutagawa Prizewinner “Eiri,” it is set in the director’s hometown of Morioka, Iwate Prefecture, both before and after the 3/11 tragedy. The sense of loss that infuses many of its scenes signals just how much personal resonance the story has for him.

Appearing after a sneak preview at FCCJ, Otomo immediately confirmed this. He recalled, “In 2011, I came to the decision, after working at NHK [since 1990], that I would leave the company to focus on making films without corporate backup. Just after I made that decision, 3/11 happened. The question that I’ve kept going back to is, Is there anything I could have done, or anything I can do [as a filmmaker] for my hometown of Morioka? I did receive project offers aimed at rejuvenating the area, and those planted a seed. But after I started my own company [Office Oplus], all the pieces finally fell into place.

“Also, since this is the year of the 2020 Tokyo Olympics and Paralympics, and all eyes will be on Tokyo, that made me somewhat apprehensive about how Tohoku would be viewed. I wanted to make this film for the people of Tohoku, to express their thoughts and feelings, to record them in an accurate way and share them with audiences. So many bereaved family members said ‘Goodbye, see you later’ to someone who never came back. What happened to their pain, their sadness? I wanted to give them a voice. It’s that kind of sentiment that went into the making of this film.”

eiri-2 2020 Beneath the Shadow Film Partners  eiri-1 2020 Beneath the Shadow Film Partners
Ryuhei Matsuda as Hiasa (left), in his new life as a traveling salesman. Go Ayano as Konno (right), who's just arrived in Morioka. 
©2020 Beneath the Shadow Film Partners

The protagonist of Beneath the Shadow, Shuichi Konno (Go Ayano), first meets Norihiro Hiasa (Ryuhei Matsuda) when his pharmaceutical company transfers him to Morioka, where the latter already works. Both men are 30 years old and seemingly solitary, but they have little else in common. Konno is an introverted stickler for rules who spends his free time with books and a jasmine plant sent by his family; Hiasa is a smiling rebel, a rule shirker who loves to fish in the nearby rivers.

The two men begin to spend time together, and Konno develops his own fondness for angling as they fall into an uneasy comradery. Infected by Hiasa’s enthusiasm and the beauty of Morioka's natural surroundings, Konno starts emerging from his shell, joining the company’s sansa dance team and smiling more often.

eiri-3 2020 Beneath the Shadow Film Partners
©2020 Beneath the Shadow Film Partners

But one day, Hiasa abruptly quits and leaves town without a word. When he shows up again, half a year later, it’s to beg his friend to buy a policy he’s selling for a “mutual aid society,” since he’s “just one sale short of the quota.” Their friendship and fishing trips gradually resume, but Konno remains unnerved. And then 3/11 hits, and Hiasa completely disappears. Like so many others, he is assumed to be dead.

Konno contacts Hiasa’s father (Jun Kunimura) for news, and discovers that what little he knew about his friend had probably been a lie. He remembers what Hiasa said to him late one night: “You only see what the light hits for an instant. When you look at someone, you should look at the other side, the side where the shadow is deepest.”

eiri-4 2020 Beneath the Shadow Film Partners
The friends fish local rivers for a variety of species.
  ©2020 Beneath the Shadow Film Partners

Like its literary inspiration, the film’s tale of fly fishing, drinking and male bonding skirts obvious interpretation, as straightforward as it seems. It begins with the suggestion of tragedy, is driven by mystery and ends even more enigmatically than it began. Laden with subtext, heavy with meaning and metaphor, it’s that rare film where nearly every line, nearly every action, can be interpreted both literaly as well as symbolically.

Discussing the film’s title and its implications about the hidden sides of all of us, Otomo told the FCCJ audience: “Konno has so much anger inside him, which he represses and manages to live quietly. But we can feel it roiling underneath the surface. Hiasa is also full of complexities and contradictions. We sense that he is of the moment but also eternal. He’s an adult, but also childish; there’s a double-sidedness to his character.”

eiri-6 2020 Beneath the Shadow Film Partners
Konno reacts when he hears shocking news from Hiasa's father (Jun Kunimura).  ©2020 Beneath the Shadow Film Partners

Expanding on the character sketches, he explained: “Konno is an LGBTQ character, and as with such characters in many societies, not just Japan, he’s gone through many hardships. These have led him to be very sensitive about how people react to him. Since he’s come to Morioka as a newcomer, it’s liberating because no one knows that he’s gay. He’s embarking on a new life, but he’s lonely because he doesn’t know anyone.”

On the other hand, “Hiasa was born and brought up in Morioka. He’s free-spirited and doesn’t follow the rules. I think we can say he’s a metaphor for uncontrollable nature, anthropomorphized. He’s not ill-intentioned, he just doesn’t want to adjust himself to society’s norms.”

FCCJ EiriKoichi Mori-14
©Koichi Mori

Asked about the casting of his two leads, both of whom Otomo had previously directed, he admitted, “I basically went with my intuition. From the moment I read the novel, through the process of working (with Kaori Sawai) on the script, I felt these were the only two actors for the roles. With Mr. Ayano, he has this very intellectual, cultured aspect to his presence, while Mr. Matsuda is somehow just so cinematic. He has a very poetic presence. I just couldn’t wait to see them play the roles.”

Otomo was praised for eliciting such nuanced performances, and asked about his approach to directing them. He concurred that they were “wonderful,” and that Matsuda, in particular, “really grounded his role,” despite its challenges. (Matsuda won the award for Best Actor at the Hainan Island International Film Festival in December, where Beneath the Shadow had its world premiere).

FCCJ EiriKoichi Mori-20
   Igarashi produced Netflix's Hibana: Spark and Naoko Ogigami's Close-Knit, among other titles. ©Koichi Mori

“As with any good actor,” he said, “Mr. Ayano and Mr. Matsuda can tell from the production design and costumes what kind of approach you imagine in a certain scene. I didn’t have to explain a lot. And we didn’t talk a lot about the characters on set. I didn’t want to impose anything on their own interpretations. Sometimes it seemed like I was just shooting a documentary about the characters, except when they would occasionally veer too far from what I’d imagined. Then I would quietly pull them aside so we could discuss the scene. But mostly, I would work closely with my production designer to adjust the backdrops of the scenes to heighten the acting choices they had made.”

Otomo’s business partner and producer, Masashi Igarashi, was asked what it was like to work on the modestly budgeted project. “We’ve only been working together since founding the company 3 years ago," he responded, "but I was always a great admirer of Mr. Otomo’s work. He may be best known for Rurouni Kenshin, but he’s also done films like the two-part March Comes in Like a Lion, that are really rich, profound human dramas. Despite the fact that this film wasn’t on as massive a scale as his other work, I’m happy that we could make such a rich, intense film together.

eiri 2020 Beneath the Shadow Film Partners
Ayano first worked with Otomo on Rurouni Kenshin, while Matsuda had a role in
the director's first film, Vulture (2009)
  ©2020 Beneath the Shadow Film Partners

“It’s very difficult to make films like these in the present environment in Japan,” he lamented. “It’s a lot easier to make films based on manga — which Mr. Otomo has done time and again — than it is to make a film based on an Akutagawa Prizewinning work [that requires audiences to read] between the lines. But it’s still possible, and I hope audiences here and overseas will [appreciate] this.”

Asked for his own thoughts on the film’s international appeal, Otomo waxed nostalgic. “When I was growing up," he recalled, "I would go to a really tiny cinema in Morioka, and that was really my window on the world. I traveled the world and learned so much that way. I think film should be a submersive experience in a cinema, not viewed on a small screen.

FCCJ EiriFCCJ-15
Otomo with the film's Japanese poster. ©︎FCCJ

“I always hope my films will become a tool of communication. It was such an enjoyable experience participating in the Hainan International Film Festival, seeing how the audience digested and interpreted my film. Film isn’t only art, it’s a way to communicate.”

While it won't attract the frenzied fanship of his most famous series, Keishi Otomo's Beneath the Shadow is certain to travel widely, and to launch many a conversation — on love, loss, loneliness, trust and betrayal, not to mention hidden meanings in the water, the weather, the trees and even that pomegranate.

eiri poster en012020 Beneath the Shadow Film Partners
©2020 Beneath the Shadow Film Partners

Selected Media Exposure

COMPLICITY


COMPLICITY (Complicity Yasashii Kyohan)


 January 15, 2020
Q&A guests: Director Kei Chikaura and
stars Yulai Lu and Tatsuya Fuji


FCCJ ComplicityKM001-24-
Lu, Fuji and Chikaura — a talented and affable trio. 
©Koichi Mori

Nearly two years ago, writer-director-producer-editor Kei Chikaura took to the stage at the 2018 Toronto International Film Festival amid warm applause, following the world premiere of his feature debut, Complicity. In the ensuing months, the film would have its European premiere at the Berlin Film Festival, its Asian premiere at the Busan Film Festival, and its Japan premiere at Tokyo Filmex, where it won the all-important Audience Award.

All told, Complicity would screen at more than a dozen prestigious international film festivals. Normally, this would lead to an early Japanese release, to capitalize on the film’s overseas success.

But these are not normal times. With relations remaining chilly between Japan and China, the Japan-China coproduction was delayed another year before finally making its domestic bow.

FCCJ ComplicityKM001-18
Chikaura and Lu react to one of Fuji's gentle wisecracks.
©Koichi Mori

Yet the timing couldn’t be better: As Japan struggles to become more immigrant friendly, it’s crucial that local audiences see more progressive, less superficial depictions of non-Japanese in the country’s media and the arts. Complicity provides exactly that, treating its Chinese protagonist with empathy and authenticity, erasing cultural barriers as it touches on themes of trust, friendship, family and food as the catalysts for building bonds.

It doesn’t hurt that Chikaura was able to cast the film with two certifiable stars, and that he had worked with both of them on short films prior to the feature: Tatsuya Fuji (In the Realm of the Senses, Ryuzo and the Seven Henchmen) on Empty House in 2013, and Yulai Lu (Soundless Wind Chime, Trap Street) on Signature in 2017.

Appearing at FCCJ after the sneak preview screening for a Q&A session that stretched to an hour, the three were affable and voluble, visibly united in their respect for one another, and delighted that Complicity would finally be available to Japanese audiences.

FCCJ ComplicityKM001-8 2 FCCJ ComplicityFCCJ001-4 FCCJ ComplicityFCCJ001-7
Fuji (left ©Koichi Mori), Lu, Chikaura (©FCCJ)

“It’s really hard to secure cast and crew when there’s no promise of theatrical distribution,” explained Chikaura. “Fortunately, everyone believed me when I promised that it would be released in Japan, as well as internationally. I’m grateful that everyone had such faith in me, and that I was able to keep my promise.”

Fuji recalled that he’d first read the script three years ago. “I like Mr. Chikaura as a person, but that didn’t necessarily guarantee I would agree to appear in the film," he said. "However, I found the script to be very powerful, and I had faith that we would be able to get to where we are today.”

Lu concurred. “Since I first met Mr. Chikaura, I’ve seen him develop so much. Complicity was especially hard because we also filmed in China. As a director myself, I know how difficult it is to realize a film. I admire Mr. Chikaura’s confidence and hard work, and I really had a great time acting with Mr. Fuji.” (The feeling was mutual: Behind the scenes, Fuji lauded Lu’s acting skill, and his ability to communicate so much without dialogue.)

The scenes in China were coordinated by Chikaura’s Chinese producing partner, Wei Fu. “Without his help, I don’t think the film would have been possible,” the director emphasized.” He organized everything. We were shooting 1,000 km south of Beijing in Henan Province. We had to make the long journey by car three times before everything was ready. So it took a lot of preparation, but we were able to get the shoot permissions and wrap in 5 days.”

 Complicity-05 2018 CREATPS  Mystigri Pictures
Hiroshi and Kaori treat Liang like a member of the family. ©2018 CREATPS / Mystigri Pictures

Shot with a startling sense of immediacy and realism, Complicity opens in Japan, with Liang Chen (Lu), paying dearly for a fake ID and a cellphone so he can work. He’s immediately besieged with calls for Wei Liu, his assumed identity, and after finding language assistance, discovers that Liu has been offered a job as apprentice to a soba noodle master. It doesn’t pay much, but it comes with room and board. Given his circumstances, Liang doesn’t hesitate long. Soon he has moved into an attic room at his employer’s soba restaurant in Yamagata, and is arising at the crack of dawn to prepare the buckwheat with him.

Hiroshi (Fuji) runs the restaurant with his daughter Kaori (Kio Matsumoto), and they are grateful to have this eager, hard-working young man helping out. Despite his limited Japanese — and total lack of experience in the kitchen — he proves a quick study. His dedication earns Hiroshi’s admiration, and a touching father-son relationship quickly develops.

Delivering noodles one day, Liang meets and is smitten with Hazuki (Sayo Akasaka), an artist who is studying Mandarin in hopes of attending school in Beijing. But after she reports to the police that he’s lost his wallet at a club, he stops taking her calls, fearful that his true identity might be exposed at any moment.

Complicity-08 2018 CREATPS  Mystigri Pictures
Liang attempts to master the way of the noodle. ©2018 CREATPS / Mystigri Pictures

And then there’s his guilt: we learn through flashbacks that he has left his ailing mother and demanding grandmother in his native Henan, where family responsibilities had curtailed any dreams he might have had. He’d come to Japan in the hopes of working for 3 years, saving money and returning to start his own business. But an urgent phone call from home and the threat of exposure puts his new life, and his new family, in danger.

Chikaura was asked whether it was personal experience with the immigrant community in Japan that had enabled him to create such a sensitive depiction of Liang’s plight. “I didn’t know much about the issues before I embarked on the project,” he admitted. “But back in 2014, I read an article about a Vietnamese man who was part of the government’s technical trainee program, and it said that he’d slaughtered a goat and eaten it. That got me thinking about why he would have done that, so I began researching the immigrant experience. I spent about 18 months meeting and talking with immigrants here, which was crucial to bringing a sense of reality and conviction in the film. I felt a moral imperative to [do the research first].”

And how did he decide on soba as the film’s culinary metaphor? “There are two reasons soba became the film’s motif,” Chikaura explained. “The first is that we’d decided on Oishida, Yamagata Prefecture for our shooting location, and it’s famous for its soba culture. As you see in the film, the ‘restaurant’ is really a tatami room in someone’s house. It was apparently a custom for wives in the town to make soba to entertain visitors, and if they were particularly good at it, they would start serving the noodles and earning a living from it. That’s how the [home-restaurant] culture developed.

Complicity-06 2018 CREATPS  Mystigri Pictures trimmed
 ©2018 CREATPS / Mystigri Pictures

“The second reason is because of soba’s metaphorical qualities. It’s something that’s very simple, but it takes a lot of time and technique to master, which is exactly what I wanted to depict: something that’s simple but goes very deep.”

Fuji makes a thoroughly believable soba master, heaving huge bags of buckwheat, rolling and cutting with practiced finesse. Asked how he had achieved such realism, the star responded, “It’s troublesome when you have to play a detective or a cop or a yakuza gangster because you really can’t do research by becoming a yakuza. But when you’re playing a craftsman, you can try to become that craftsman. I get immense pleasure out of delving into role models for such a role.

FCCJ ComplicityKM001-13
©Koichi Mori

“A month before principle photography, I went up to Oishida. I had two masters as coaches. Every day for about 20 days, I practiced all day, [eventually] processing about 100 kilos of buckwheat. Once you’ve embodied a craftsperson, you [can concentrate on other things]. I focused on embodying how grateful I was that this young Chinese immigrant had come all the way to this small town in Japan and was willing to help out with my work.”

Chikaura recounted an anecdote illustrating Fuji’s mastery of the craft. “The meijin soba masters agreed to teach us on one condition: that the soba making would not be a lie when depicted on screen. They said that even with months of training, it probably wouldn’t be possible to show closeups of the actors making the noodles, since it would be instantly obvious that they weren’t professionals. Mr. Fuji said, ‘I understand. I’ll do my best.’

FCCJ ComplicityKM001-5
©Koichi Mori

“Toward the end of his training, one of the masters came to me and said that he’d passed the room in which Mr. Fuji was cutting soba, and that he’d heard a professional inside. He could tell just by the sound of cutting that it was a professional, and he was convinced it was a pro. When he found out it was Mr. Fuji, [he was amazed]. So the closeups you see in the film are really Mr. Fuji.”

Lu also trained to handle the noodles, and recalled, “Even when I read the script, I loved the parts with soba making. When I was making soba, I felt a natural connection to Mr. Fuji. I remember one scene in particular, when he was rolling out the dough and being very serious. It seemed like he was in his own world, and there was an aura around him that made me feel like he was really my father.”

FCCJ ComplicityKM001-2
©Koichi Mori

On the subject of family, the director was asked whether the sour relations between the Hiroshi character and his son were to be interpreted as a comment on Japanese families. “It wasn’t my intention to make a social commentary on families or the problems we have with immigrants in Japanese society,” answered Chikaura. “I just wanted to tell the story of a soba craftsman who welcomes a Chinese man into his house, and forms a pseudo-family with him. But it was also my hope that this story about a ‘father’ and a ‘son’ would symbolize amiable relations between Japan and China.”

Asked how it felt to see the film opening at long last, Fuji joked, “Like a defendant about to be put on trial.” As for Lu, “It was such a joy making this film. I feel like I had encounters similar to my character’s, meeting strangers [who become friends]. You never know what kind of encounters you’ll have, either in making a film or in life. I hope to work with Mr. Chikaura and Mr. Fuji again.”

FCCJ ComplicityFCCJ-poster
With the film's poster. ©︎FCCJ

While the image of an intercultural Japan, with people of diverse nationalities and ethnic backgrounds working together, may remain illusory, honest depictions of immigrants and their stories on screens large and small would help make that vision a reality. Kei Chikaura’s compassionate portrayal of a young man doing his best to atone for a bad conscience and bad choices marks a positive — and poignant — step.

Complicity is already available on DVD with English subtitles via Amazon, and it is currently going through the process necessary to obtain China’s “dragon seal,” which will allow it to be shown in Chinese theaters.

Complicity poster2018 CREATPS  Mystigri Pictures
©2018 CREATPS / Mystigri Pictures

Selected Media Exposure

Recent posts

MISHIMA: THE LAST DEBATE

00:00 Thursday, March 19, 2020

FUKUSHIMA 50

00:00 Thursday, March 05, 2020

FIRST LOVE

00:00 Thursday, February 27, 2020

BENEATH THE SHADOW

00:00 Saturday, February 08, 2020

COMPLICITY

00:00 Sunday, January 19, 2020

TALKING THE PICTURES

00:00 Wednesday, December 04, 2019

THE 47 RONIN IN DEBT

00:00 Thursday, November 21, 2019

I: DOCUMENTARY OF THE JOURNALIST

00:00 Thursday, November 14, 2019

TORA-SAN, WISH YOU WERE HERE and Q&A in collaboration with TIFF

00:00 Saturday, October 05, 2019

WORDS CAN'T GO THERE

00:00 Saturday, September 28, 2019
  • Go to top