‘Okinawa Saudade’ Director Matsubayashi Yoju on a 10-Year Journey Tracing Brazilian Dancers’ Island Roots

‘Okinawa Saudade’ Director Matsubayashi Yoju on a 10-Year Journey Tracing Brazilian Dancers’ Island Roots hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 2, 2026 6:13pm PT ‘Okinawa Saudade’ Director Matsubayashi Yoju on a 10-Year Journey Tracing Brazilian Dancers’ Island Roots By Kambole Campbell Plus Icon Kambole Campbell Latest Shahrbanoo Sadat and Jelena Maksimović Hit Back at Discrimination in Film Funding at Tokyo Festival Talk 1 day ago ‘Between Us’ Director Matsumura Shingo on Finding Connection After Disaster and Making Films on Japanese Budgets 1 day ago Japan’s New 2027 Anime Award Should Put Creators in the Spotlight, Industry Leaders Say at Tokyo Market 3 days ago See All Add us as a Google Preferred Source Comments Exploring the relationship between people and place, new documentary “ Okinawa Saudade ,” playing at the 39th Tokyo International Film Festival as part of its Nippon Cinema Now selection, was born from director Matsubayashi Yoju’s time with a Brazilian community of Okinawan immigrants some 10 years ago. The film zooms in on the latest generation of Okinawan immigrant families: Yumi, a young dancer of Ryukyu Buyo, Okinawa’s classical dance, and Everton, who teaches Eisa, the island’s drum-led festival dance, in Brazil.

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The two travel to Okinawa on an exchange trip to learn about the island’s history and culture. Related Stories Spike Lee Is Praying the Knicks Don’t Visit the Trump White House “In 2016 I had the opportunity to live in Brazil for one year.

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At the time I was trying to work on this other project about Fukushima, but it wasn’t going well so I just decided to, you know, lay back and just have beers in the morning, etc.,” Matsubayashi says. “That’s when I actually found out about the forced relocation of Japanese Brazilians in Santos in Brazil.” That wartime relocation, in which some 60% of the Japanese immigrants forced out were from Okinawa, became the focus of Matsubayashi’s 2020 documentary “Okinawa/Santos.” “After that, I was exposed to the Urizunkai,” he says.

“This is the Brazilian Okinawa community there, and so I happened to get to know them, and then I found out that they are sending Okinawa Brazilians to Okinawa for training and scholarship. So that’s actually the starting point of the project.” The Bunkyo, a cultural facility in São Paulo’s Liberdade district, a neighborhood with a particularly high concentration of Japanese immigrants, kept a vast and detailed library of immigrant documents in Portuguese and Japanese.

It was an invaluable resource for Matsubayashi’s research, but the director also found inspiration in the sheer quantity of material, rather than just the data itself. “There’s a lot of documents for [immigrants] from the [other] 46 prefectures,” Matsubayashi says.

The Okinawan records, he adds, came to almost the same volume. “Meaning that the Okinawans left a lot of records of themselves.

I was really amazed at that vast amount of information that the Okinawans wanted to keep.” While making the 2020 film, Matsubayashi says, he was still an outsider, not being from Okinawa himself, but he became embedded in the community while filming interviews, and those interviews led to a deeper connection. “‘Ichariba choodee,’ that’s a [saying] in Okinawan dialect that means that [you are like] brother and sister, which [is how] they considered me once I interviewed them,” the director says.

“I think that if I hadn’t developed ‘Okinawa/Santos’ as a film, I wouldn’t be able to have this film ‘Okinawa Saudade,’” he says. “When you’re there shooting you would need to get a coordinator, you need to get a driver, but I didn’t have to do tha

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