From Carlos Reygadas to Hamaguchi’s Cinematographer, Tokyo’s Nippon Cinema Now Directors on Unexpected Connections

From Carlos Reygadas to Hamaguchi’s Cinematographer, Tokyo’s Nippon Cinema Now Directors on Unexpected Connections hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 28, 2026 5:50pm PT From Carlos Reygadas to Hamaguchi’s Cinematographer, Tokyo’s Nippon Cinema Now Directors on Unexpected Connections By Kambole Campbell Plus Icon Kambole Campbell Latest ‘Silver Express’ Review: Miki Tanaka’s Sensitive Debut Feature Explores Asexual and Aromantic Identity 2 weeks ago ‘Midday Meal’ Review: Touching Iranian Drama Charts a Teacher’s Desperate Acts to Provide for His School 3 weeks ago ‘Ibuku’ Review: Dreamlike Indonesian Drama Is a Compelling Tale of Parental Redemption 3 weeks ago See All Add us as a Google Preferred Source Comments A first-time director who messaged Oscar winner Hamaguchi Ryusuke’s cinematographer directly, and a former hunter whose film led Carlos Reygadas to float a collaboration, were among five Nippon Cinema Now filmmakers who shared the unexpected connections behind their work at the 39th Tokyo International Film Festival (TIFF). The “How We Make Films” panel at Tokyo Midtown Hibiya, moderated by TIFF programming director Ichiyama Shozo, brought together Ueda Shinichiro (“Earthlings in Love”), Saito Kisin (“Kefi”), Natori Satoshi (“Chihiro | Akemi”), Matsumura Shingo (“Between Us”) and Yaza Takenoshin (“Hinotama: Ball of Fire”) to discuss the making of their radically different features.

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Related Stories Video-Game Rating Group ESRB Names Netflix and MPA Alum Orit Michiel President Latvian Oscar Submission ‘Ulya’ Sells Wide Ahead of Opening Tallinn: ‘This Film Is a Blockbuster’ (EXCLUSIVE) As he introduced the participants, Ichiyama noted that although the selection typically focuses on newer directors in Japanese cinema, he was interested in bringing Ueda in because of the unique vertical format of his latest film, “Earthlings in Love.” Ueda explained that the film was an adaptation of sorts, born from a 30-episode microdrama series designed for social media, hence the vertical aspect ratio. Its budget, though, was “equivalent to a regular independent film,” he said.

İlginizi çekebilir: ‘One Cut of the Dead’ Director Ueda Shinichiro on Turning a Microdrama Into Tokyo Feature ‘Earthlings in Love’

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That already sets it apart from most microdramas, which are typically very low-budget. “I’m from the theatrical film world, so we were making it as if it were a film to start with […] so it became appropriate for a theatrical release,” Ueda said.

Ichiyama then introduced “Kefi,” a debut feature by young cinematographer Saito, which he described as “a very unique, strange film,” one where “you never know what’s happening, but at the end, it all comes together.” Asked how such a film came about, Saito said he had met a producer in charge of production and movie advertising, who found a sponsor for the project. “And so the sponsor had a theme for us, and based on that theme, we were going to make a film, and I agreed to it.

But as we continued our discussion, the sponsor said that we could make it as we like. So it turned out to be a very strange film,” Saito said.

The original theme, he said, was “maternal love, being a mother.” The finished film instead follows three sisters after they receive the news of their father’s passing. “They kind of left it to us, so I kind of just added my preferences,” Saito said.

Moving on to “Chihiro | Akemi,” Natori spoke about a key location in the film, a house in eastern Hokkaido. “I wanted to shoot a film that is basically about the distance between the woods and the house, just going back and forth from the house.

I myself used to be a hunter, and with the experiences from hunting, I came up with all these ideas, and I tried to put them in this film. You go out hunting, you look

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