The Japanese film industry has long been notoriously insular, a tendency the pandemic only exacerbated. As the Hollywood pipeline shut down in 2020, local audiences flocked to local films. In 2021,…
The Japanese film industry has long been notoriously insular, a tendency the pandemic only exacerbated. As the Hollywood pipeline shut down in 2020, local audiences flocked to local films. In 2021, “Fast & Furious 9” was the only non-Japanese film to break into the year’s box office top 10, in the number 10 slot; in pre-pandemic 2019, six of the 10 highest-earning films were foreign, all from Hollywood.
It is the second film Kore-eda has shot outside his native Japan, the first being “The Truth,” a 2019 drama starring Catherine Deneuve and Juliette Binoche as a quarreling mother and daughter in Paris.,” a Japan-France-Philippines co-production set in a near-future Japan where a government program recruits elderly volunteers for euthanasia to reduce the burgeoning senior citizen population.
Their 100 million yen budget, admits Mizuno-Gray, is “very rare” for a first-time Japanese director. By comparison, the budget of “One Cut of the Dead,” the 2018 smash-hit zombie comedy by then unknown indie helmer Ueda Shinichiro, was $23,000. Meanwhile, more Japanese filmmakers are examining the lives of non-Japanese both abroad and within, a country that has long defined itself as racially and culturally homogenous. Among the most prominent is Fujimoto Akio, an Osaka-born director who pre-pandemic lived and filmed in both Myanmar and Tokyo.
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