Debutants Detail Unusual Film Paths

Five Japanese debut directors outlined the non-traditional methods that brought their first feature films to completion during a panel at the 39th Tokyo International Film Festival. The session, titled "How We Make Films," took place at Tokyo Midtown Hibiya on Wednesday. Ichiyama Shozo, the festival's programming director, moderated the discussion, which focused on the practical and creative decisions behind the directors' recent works.

Ueda Shinichiro, whose film "Earthlings in Love" uses a vertical aspect ratio, explained that the project is an adaptation of a 30-episode microdrama series created for social media. Unlike typical microdramas, which are often produced with minimal budgets, Ueda stated that his film's budget was comparable to a standard independent feature. He noted that his background in theatrical cinema led the team to treat the production as a film from the outset, a decision that facilitated its eventual release in theaters.

Saito Kisin, a former cinematographer, described the development of his debut "Kefi." The project originated when a producer connected him with a sponsor who initially requested a theme of maternal love. The sponsor later granted the team creative freedom, allowing Saito to pivot the story to follow three sisters learning of their father's death. Saito said this autonomy resulted in a film with an unconventional narrative structure that resolves only at the end.

Natori Satoshi discussed his film "Chihiro | Akemi," set in a house in eastern Hokkaido. A former hunter, Natori drew on the repetitive cycle of hunting to structure the film's exploration of the distance between the woods and the home. He stated that the wilderness stripped away the social roles he held while working at an advertising agency in Tokyo, causing a shift in his personality. Actor and producer Nawata Canon contributed her own experiences with childbirth to the project. Natori cited Andrei Tarkovsky's "Nostalghia" as a key influence, noting that the film taught him to prioritize texture and style over plot.

The panel highlighted how these filmmakers secured resources without traditional industry gatekeepers. Matsumura Shingo said he had wide latitude in developing the concepts for "Between Us," a film that examines the overlap between theater and reality. Yaza Takenoshin, who had no prior feature film experience, contacted cinematographer Kitagawa Yoshio directly. Kitagawa, known for his work with director Hamaguchi Ryusuke, agreed to shoot Yaza's film "Hinotama: Ball of Fire" after a conversation about working with a tight budget. Kitagawa also introduced Yaza to a producer who began seeking financial backing.

Natori mentioned that Mexican director Carlos Reygadas, who served on the jury at the Split Film Festival in Croatia, expressed interest in collaborating with him after screening "Chihiro | Akemi." Natori's film won the Grand Prix in the feature competition at that festival. Reygadas reportedly asked Natori, "Your film is crazy. What's going on here?" Natori said this exchange could lead to a future Japan-Mexico collaboration.

The speakers emphasized the importance of creative autonomy during their first feature projects. Natori concluded the panel by stating that it is important to make a film that one is satisfied with, specifically because it is a first attempt. He argued that the unique energy of a debut allows for choices that might not be possible later in a career.

The five films discussed varied in style and subject matter, ranging from vertical-format adaptations to rural dramas and theatrical explorations. Each director described a distinct path to production, relying on direct outreach, sponsor flexibility, or personal background rather than established studio support.