I have had the privilege of speaking with a truly remarkable filmmaker today, whose work has left me deeply moved and reflective. His name is Ryusuke Hamada, a Japanese director who recently completed his latest film, “Great Absence.” This man’s life experience shines through in every word he speaks, and I couldn’t help but be captivated by the authenticity of his storytelling.
As a dedicated gamer and avid movie buff, I’m thrilled to share that one of the most captivating Japanese indie films from recent years is making its way into U.S. cinemas this weekend. “Great Absence,” directed by the talented Kei Chika-ura for his second time at the helm, was a standout at the 2023 Toronto Film Festival and went on to win the best actor prize in San Sebastian for its brilliant star, Japanese screen legend Tatsuya Fuji (known for his iconic role in “In the Realm of the Senses”). Starting this Friday, New York cinema-goers can catch it, while Angelenos have a date with the film on July 26. With a nationwide release planned, get ready to immerse yourself in this unforgettable cinematic experience.
“Great Absence” Focuses on Takashi (Mirai Moriyama), a driven actor for stage and screen, who is suddenly pulled back into his past by an alarming phone call from the police. His father (Fuji), once respected physics professor, is now missing along with his second wife. With his spouse (Yoko Maki) by his side, Takashi makes a quick trip to their home on Japan’s Kyushu island. The film then shifts into an intriguing and emotional puzzle as Takashi uncovers the truth behind his long-lost father’s mysterious disappearance and the fate of his wife.
“At times in our lives, we encounter a past that we believed was long gone, only to reappear unexpectedly. This can bring up uncomfortable feelings from absences, memory loss, and missing pieces of our personal history.”
Renowned Japanese cinematographer Yutaka Yamazaki, famous for collaborating with filmmakers Hirokazu Kore-eda and Naomi Kawase on art house productions, filmed “Great Absence” using 35mm film and primarily traditional stationary camera angles. This technique added depth and weight to the movie’s seamless shifts between past recollections and present moments, mirroring the complex and vivid nature of recalled memories.
Before the U.S. debut of “Great Absence,” The Hollywood Reporter spoke with Chika-ura over Zoom about the movie’s heartfelt background and its hidden messages regarding evolving marital expectations in Japan.
Tell me about the creative genesis of Great Absence.
I’ve been reflecting on my journey as a filmmaker, and I cannot help but be reminded of my debut feature, “Complicity,” which premiered at the Toronto International Film Festival in 2018. However, due to its independent status, it took until 2020 for the film to be released in Japan where I am from. By then, I had already written an entire script for my second feature and was eager to begin production. But just as things were getting started, the world came to a standstill due to COVID-19. Around the same time, I received a phone call from the Fukuoka police informing me that my father was being “protected.” They didn’t use the word arrested, instead they said he was under their care. I was completely taken aback, as I had no idea what this meant.
Was the film you abandoned something totally different? What was it like?
Sure thing!
Instead of just that pivotal moment, how did you incorporate your personal background into the development and construction of Great Absence?
One aspect of the protagonist’s character is his reserved nature and reluctance to share his emotions, which is similar to my own personality. When I discussed the role of Takuya with Mirai Moriyama, he mentioned finding it challenging to understand the character due to his lack of clear motivation and emotional development. I explained that Takuya’s persona was modeled after mine, and Moriyama observed and studied me to better grasp how to portray him. Moriyama is a renowned Japanese actor, recognized for his work in films, stage performances, and contemporary dance. Known for his exceptional physicality, he frequently takes on eccentric roles. I was thrilled to see him deliver a restrained, controlled performance as Takuya, which I believe was brilliantly executed.
In countries like Japan and others with large aging populations, dealing with dementia, either personally or through a loved one, is becoming more common. As I watched the film, I pondered if you were aiming for a broader relevance beyond this specific experience. Although your character’s situation is quite extreme (he’s been estranged from his father for twenty years), I could still connect with the movie’s central theme: the intriguing and somewhat eerie question of discovering the true nature of our parents as individuals, and reevaluating their entire lives as they reach the end.
An intriguing point of view you present. It brings to mind a particular scene from the movie – the third encounter between the father and son in the nursing home. In this scene, the father begs for forgiveness from his son, who initially refuses but ultimately relents with “I forgive you.” Some spectators perceived this as their reunion. However, I didn’t view it as a reconciliation; instead, it represented a reversal of roles – that of protector and protected. Not long after, in a profoundly symbolic gesture, the son hands his father his belt and assists him in putting it on. Thus, this film is a puzzle with themes concerning Japanese spouses, but essentially, it’s the tale of a man maturing and surpassing his father.
Was making this film part of that process for you?
Well, the reason I love cinema is all about my father. My father took me to the theater every weekend of my childhood. I grew up in West Berlin, before the fall of the wall in 1989, because that’s where my father was working. As I was growing up, my father always told me that the very first film I saw in the theater was Every Man for Himself by Jean Luc Godard.
Wow, that is not a kids’ movie…
(Chuckles.) I was barely five years old back then, and unfortunately, I don’t have any recollection of that experience at all. Yet, these were the sorts of films my grandfather would introduce me to, and he always emphasized that this was the first movie I ever watched in a theater. Consequently, it held significant meaning for me. However, it wasn’t an actual memory that lived within me; instead, it existed solely in his mind. By 2020, his mental faculties had begun to deteriorate. Amidst this turmoil, I felt compelled to claim the essence of this memory as my own – to internalize it and make it a part of me before moving forward with other projects. Although an abstract notion, this was the genuine motive driving me to create this film.
“Great Absence was brought up as being not only a tale, but also an exploration of how marriage evolves within Japanese culture.”
Growing up, I was raised in a traditional Japanese family where my mother took a backseat to my father and dedicated her life to supporting him. This dynamic was not uncommon in older generations, and I saw it reflected in the relationship between the father and Naomi in my story. However, as someone who yearned for more equality and independence for women, I felt compelled to challenge this norm through my writing.
I’ve always been fascinated by Tatsuya Fuji’s remarkable acting career, and when it came time to cast for our latest project, I couldn’t help but consider him for the role. His depth of experience and ability to bring complex characters to life on screen is truly unparalleled. Working with him has been an absolute privilege. Our collaboration has been a beautiful dance of artistic expression, fueled by mutual respect and admiration for each other’s craft. It’s been a learning experience like no other, and I feel incredibly fortunate to have had the opportunity to work alongside such a seasoned professional.
I deeply respect Fuji, a renowned Japanese actor, and his collaborations with Nagisa Oshima during the 1970s have left a lasting impression on me. Since starting my filmmaking journey, I’ve harbored the ambition to create a project that would be recognized as one of Fuji’s iconic performances. Last year, at the San Sebastian Film Festival, he received the Best Actor award for his work in my film, allowing me to accomplish this dream. I didn’t cast him for this production; instead, I crafted the entire film with the hope of working alongside him. Being a part of his legacy was an aspiration of mine, and the experience of collaborating with him has been extraordinary. His talent is self-evident – he requires minimal direction from me on set. He simply arrives, delivers, and trust is the foundation of our professional relationship.
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2024-07-19 03:25