If we could summarize Koji Fukada’s cinematic style in four terms, these would definitely include his love for French cinema, his knack for experimentation, theatricality, and the concept of the stranger who appears suddenly and turns everything upside down. “Sayonara” seems to embody all of the four, with the last one having a meta hypostasis here, since the ‘stranger’ is not part of the story, but of the actual production, with Geminoid F, a female android created by Hiroshi Ishiguro, having a protagonist role. The story is based on a play by Oriza Hirata, and was promoted as “the first movie to feature a Gynoid performing opposite a human actor”
“Sayonara” is screening at Vesoul International Film Festival of Asian Cinema
The story takes place in a not so distant future, when Japan has experienced another nuclear incident and is gradually becoming uninhabitable. The whole population has to evacuate to avoid radiation poisoning,...
“Sayonara” is screening at Vesoul International Film Festival of Asian Cinema
The story takes place in a not so distant future, when Japan has experienced another nuclear incident and is gradually becoming uninhabitable. The whole population has to evacuate to avoid radiation poisoning,...
- 2/8/2022
- by Panos Kotzathanasis
- AsianMoviePulse
Koji Fukada was born in Tokyo in 1980. In love with European cinema, he is very influenced by Marcel Carné and Victor Erice. While studiyng Litterature at the Taisho University, he took lessons of cinema direction at the Tokyo Film School, where one of his teacher was Kiyoshi Kurosawa. Fukada directed his first feature film in 2001, “The Chair”. In 2020, he is back with “The Real Thing”, based on the comic by Mochiru Hoshisato, and presented as a premiere in Vesoul, in two parts.
On the occasion of his presence in Fica Vesoul, we speak with him about rewatching his older films, his preference between Japanese and French cinema, the effect theater had on his filmmaking, Kanji Furutachi and Bryerly Long, and many other topics.
Translation by Lea Le Dimna
This morning, you watched “Human Comedy in Tokyo”, a film you shot in 2008. How does that make you feel?
It does not...
On the occasion of his presence in Fica Vesoul, we speak with him about rewatching his older films, his preference between Japanese and French cinema, the effect theater had on his filmmaking, Kanji Furutachi and Bryerly Long, and many other topics.
Translation by Lea Le Dimna
This morning, you watched “Human Comedy in Tokyo”, a film you shot in 2008. How does that make you feel?
It does not...
- 2/5/2022
- by Panos Kotzathanasis
- AsianMoviePulse
Bryerly Long – since 2010 has worked with the Seinendan Theatre Company, known for its ‘contemporary colloquial’ theatre style, performing in national and international tours.
Bryerly made her film debut in Koji Fukada’s “Hospitalité”. She co-starred with an android robot in the feature film “Sayonara”, in which she displayed a ‘unique quality of restraint’ (The Telegraph) and ‘eeriness’ (The Society for Film), acting the role of a dying girl ‘to chill and poignant perfection’ (Japan Times) and ‘bonding convincingly with her inanimate co-star’ (Jt).
In theatre, she has been praised for her stage presence, capacity to switch with ease between various languages and strong physical impersonation of characters most influential contemporary film and theatre directors in Japan. she aims to draw on her language skills and international experiences growing up in Vietnam, Bosnia, France, the UK and the Us, to work in film and theatre across cultures.
So as to recap...
Bryerly made her film debut in Koji Fukada’s “Hospitalité”. She co-starred with an android robot in the feature film “Sayonara”, in which she displayed a ‘unique quality of restraint’ (The Telegraph) and ‘eeriness’ (The Society for Film), acting the role of a dying girl ‘to chill and poignant perfection’ (Japan Times) and ‘bonding convincingly with her inanimate co-star’ (Jt).
In theatre, she has been praised for her stage presence, capacity to switch with ease between various languages and strong physical impersonation of characters most influential contemporary film and theatre directors in Japan. she aims to draw on her language skills and international experiences growing up in Vietnam, Bosnia, France, the UK and the Us, to work in film and theatre across cultures.
So as to recap...
- 9/30/2018
- by Nikodem Karolak
- AsianMoviePulse
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