The famous Japanese director Chi HawakawaAnd, who got “Plan 75” on a camera or a special male in Festival Festival FestivalHe returned to Creisite with the title of competition.Renoir“Drama coming during the economic bubble in Japan in the late eighties.
The film follows Fuki, a 11 -year -old strange and sensitive girl played by the new expatriate Yi Suzuki, and she is moving in a difficult summer while dealing with a final sick father and a tense working mother. The actors team also includes Hikari Ishida and Lily Franky in pivotal roles.
“Renoir” deeply depends on Hayakawa’s personal experiences of her father’s loss during childhood. “I have been thinking of making this story since I was a teenager or in my early twenties,” says Hayakawa. diverse. “But if you made this movie when I was in my twenties, I would have focused more on the child and may be more depressed – very dark.”
The director believes that her current point of view brings a valuable vision. “I am now at the same age of my mother and my father at the time. I also have two children, so I understand how parents live and the type of mind they have. I feel more sympathy for my parents now, and I have a different view from my past.”
Hayakawa specifically chose to put the story in 1987, during the Japanese economic bubble period, and to see similarities with contemporary society. “At that time, the Japanese economy was growing and growing. People had a lot of hope in our future and we had great lovers and respect for Western cultures,” she explained. “The culture of consumption was. Everyone was consuming everything and the relations between families were weakened. We lost what is important to us and what is real.”
The film includes symbolic elements that reflect this cultural moment, including a replica of the western painting – Renoir of the title – which was purchased by the novel’s protagonist. “You will see a small loop where the family buys a symmetrical plate, and it is fake, but it shows the simulation that the Japanese people had to Western art. Although it is fake, it is satisfied with it,” says Hayakawa.
“Renoir” is a major development in the Hayakawa approach in international cooperation. Besides Japan’s films, HAPPINet Phantom, Dongyu Club and Kinofction, collected the project in Akanga Akanga in Singapore, ARTE France Cinema and Indonesia in Kawankawan Media and Philippine SugPles from Daluyong Studios, which was previously known as Hayakawa’s Hayakawa. “In the development process, I benefited from reactions from producers from France and Singapore,” he noticed Hayakawa. “With regard to production, I had audio recorders and prosperity operators from France participating in the entire shooting in Japan.”
This cooperation between cultures has proven valuable. “The way they work is completely different, and technically, I think French sound technology is very high. It was a very good educational opportunity for the Japanese crew.”
Work with the actor Yue Suzuki, who carries a lot of emotional weight of the film, has proven amazingly smooth to the director. “This was the first time that I worked with a child actor, so I thought it would be very difficult. I expected her to need an accurate direction, but in reality, it turned out to be very easy because she was doing naturally without great guidance,” explains Hayakawa. “I really didn’t give her instructions on how to say dialogue or face expressions – I did it normally. It was my only direction on physical movements.”
Veteran actor Lily Franki, who plays a major role in the movie, has brought a unique cinematic presence. “He was amazing,” says Hayakawa. “It was exactly the person I was thinking about when writing the scenario. I always imagined him as a father. He has an eye as a director, so even just standing without saying anything, or sitting on a chair without any dialogue, the cinema becomes.”
With “Plan 75” and now “Renoir”, Hayakawa admits that she is attracted to characters who transmit isolation within society. When I was asked if she was building with an objective trilogy, it reflects, “somehow, I am very interested in human solidarity, so I will continue to work on this topic.”
As for its place in the increasing presence of Japanese cinema on the world stage, Hayakawa is optimistic. “Over the past two years or thirty, many new Japanese directors have been emerging, so I have a very positive feeling towards Japanese cinema. We are fully aware of the problems in the Japanese industry, so we are trying to make changes little by little.”
She sees her approach to joint international production as affecting other Japanese film makers. “Many Japanese managers are not working with international joint production, but little by little, Japanese movie makers are trying to make movies in this way. I think my condition can be a good example of working with international production and targeting a global market. It gives people an inspiration on how to make films that go beyond focusing on the Japanese market.”
