As a gamer with a deep appreciation for cinema, particularly Japanese genre films, I find Kiyoshi Kurosawa‘s latest psychological thriller, “Cloud”, to be an intriguing exploration of the human condition under extreme circumstances in today’s digital age. Growing up on a diet of classic American action films from the ’70s, it’s fascinating to see how Kurosawa has adapted this concept to contemporary Japan.
Renowned Japanese filmmaker Kiyoshi Kurosawa explains that he approached his recent psychological thriller, titled “Cloud,” with the intention of creating an unusual action movie. This unique production showcases how everyday individuals can be driven to violent acts under extraordinary pressures.
During a masterclass held by Kiyoshi at the Busan International Film Festival on Sunday, the renowned Japanese director of genre films discussed classic American action movies from the 1970s that he used to watch, which depicted ordinary individuals being pushed to the brink of life and ultimately brandishing firearms against one another.
The 69-year-old director, celebrated as Asian Filmmaker of the Year in Busan, mused about transforming old-school movies into a tale set in contemporary Japan. He aimed to craft a narrative about everyday folks fighting to live, only to find themselves thrust into life-threatening scenarios. Occasionally, individuals who seem non-violent are driven to the brink of violence by their circumstances.
Kiyoshi clarified that Cloud isn’t like an exciting action movie you might expect. Instead, it delves into psychological turmoil depicting digital communication through vivid imagery, and it provokes thoughts about ethical issues within a capitalist system.
The movie narrates the tale of Yoshii, portrayed by Suda Masaki, who is a web-based goods vendor. He finds himself in a predicament that unforeseeably escalates. Director Kurosawa characterized this film as an investigation into how minor grudges and annoyances fostered online can escalate to actual physical conflict.
The distinctive style of narration and visual appeal in the movie are significantly influenced by the subtle acting delivered by Masaki Suda, who portrayed the main character.
In the initial script, there wasn’t much information about the character, and when I met Masaki, I didn’t elaborate on the character extensively either. However, Masaki grasped what I intended for the character immediately, and it was only after he performed the role that I gained a deeper understanding of the character myself. There were numerous heartfelt moments, and his presence was vital to the movie.
Kiyoshi clarified, for instance, that early in the movie, there’s a moment where Yoshii’s girlfriend Akiko mentions she’d love to purchase numerous items if she had plenty of cash. Masaki concurs with this sentiment, responding “of course” in the scene.
In the script, there were no instructions on how Yoshii should play the scene or say ‘sure’ at that particular moment,” he explained. “Nor did Yoshii inquire about it. Masaki portrayed the character based on his own interpretation. In his performance, Masaki conveyed a mix of sincerity and perplexity. Upon observing him act the scene, I realized that was indeed Yoshii.
In the gathering of passionate young movie buffs and budding directors, Kiyoshi further clarified that his movie might be interpreted as a grim depiction of contemporary Japan following its economic downturn.
He notes that while his movies are works of fiction, they undoubtedly reflect his perspective on society. ‘Serpent’s Path,’ filmed in the late 90s, was made during a time when there was a palpable sense of optimism about the approaching end of the 20th century and the dawn of a new era. People seemed to believe that anything was possible before the new millennium began. However, as we entered the 21st century, our hopes were not fulfilled. Many of the old problems remained unresolved, and the future remains uncertain. It’s been about two decades since then.
Kiyoshi shared that he felt a sense of accountability regarding the challenges Japan’s society has been encountering since the start of the new millennium.
He expressed regret over the freedom he enjoyed while making his fictional movies without any accountability, saying, ‘I’m unsure how to convey this feeling in my upcoming film, yet I believe it will be implicitly portrayed.’
As a regular visitor to Busan, Kurosawa feels that the festival serves as a bridge for him to engage with a fresh wave of spectators whose tastes and preferences are perpetually evolving.
For quite some time now, after I embarked on my filmmaking journey, folks have told me that cinema is no longer relevant, that the industry is on its last legs. Yet, it’s clear that cinema is far from dead; it continues to captivate countless individuals. Whenever I visit this place, it’s always inspiring to witness hordes of young aspirants engrossed in films and eagerly preparing to create their own masterpieces.
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2024-10-07 09:25