Ozu Shapes Mishima Yukiko’s Tokyo Competition Title ‘Two Cigarettes, Three Nights’

Ozu Shapes Mishima Yukiko’s Tokyo Competition Title ‘Two Cigarettes, Three Nights’ hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 30, 2026 11:40pm PT Ozu Shapes Mishima Yukiko’s Tokyo Competition Title ‘Two Cigarettes, Three Nights’ By Mark Schilling Plus Icon Mark Schilling Japan Correspondent Latest AI Can Critique Shakespeare but Can’t Write It, Russo Brothers’ AGBO Execs Tell Tokyo Market 2 days ago Amazon MGM Studios Japan ‘Doubling’ Investment to Meet Global Standards, Local Chief Buddy Marini Reveals at Tokyo Market 3 days ago Kore-eda Hirokazu Hails Japanese Cinema’s Global Moment as Ninomiya Kazunari, Academy’s Amy Homma and ‘Kokuho’ Producer Murata Chieko Take Stage at Kering Women in Motion Tokyo Event 3 days ago See All Add us as a Google Preferred Source Comments Known for her dark relationship dramas, including the 2017 multiple-award-winner “Dear Etranger,” Mishima Yukiko has taken a different approach with her latest film, “Two Cigarettes, Three Nights,” which is in competition at the 39th Tokyo International Film Festival . Based on a 2014 novel by Chihaya Akane, it stars Matsuoka Mayu as Kanna, a picture book illustrator who has tired of her nice-but-boring live-in boyfriend (Inoue Yuki) while having nothing but a physical connection with her cynical married lover (Nakajima Ayumu).

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Shot in Kyoto, Hiroshima and Toyama Prefecture, the film makes screenwriter Sawai Kaori’s talky script feel visually dynamic, while avoiding cliché shots in Kyoto and Hiroshima, two of Japan’s most famous tourist destinations. Instead of posing against temples and cherry blossoms, the two principals stroll along a riverbank or on railroad tracks as they renew their friendship – and flirt with something more.

“When deciding on a location, it’s not just about picking a ‘pretty’ spot,” says Mishima in an interview at Tokyo Midtown, the main festival site. “Rather it’s more about choosing a place where the scene comes to life.” “Also, the novel has a lot of scenes set inside a coffee shop, but in the movie (Kanna and Haseo) are walking just about the whole time,” she adds.

Years ago, she and a male friend spent more time walking together than sitting inside a shop and talking, she recalls. “We didn’t talk about our worries and troubles – we’d walk until dawn, just chatting about trivial things.” “Trivial” is not the word to describe the film’s dialogue, but it has a bantering tone, as well as an unfiltered honesty.

At the same time, Kanna and Haseo don’t face each other right away. “I didn’t want them to do that until a certain point,” says Mishima.

“I wanted them to always be looking in the same direction. So when they go into a ramen shop, they are sitting side by side at a counter.

The same with buses and trains – they sit next to each other, looking in the same direction.” A big influence in her shotmaking style, Mishima says, is Ozu Yasujiro, who often filmed characters side by side or even making the same motions in unison. “I love how he captures the way people move within the flow of Japanese l

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