In the post -screen question and answers prizes before the Asian Film Awards in Hong Kong, director New Sora discussed the “Happyend” feature, which is a meditative exploration of broken friendship against the backdrop of political turmoil in nearby Japan.
In the movie, in the near Tokyo, the catastrophic earthquake threatens. Two friends, Utah (Koreahara Hayato) and the Koreans-HIDAKA YUKITO, joke its manager before graduation, which led to the installation of school surveillance.
The feature film, the first director in Tokyo, is weaved personal relationships with greater social social issues, creating what Sora describes as “differences in size” between intimate personality dynamics and comprehensive social comment. “The essence of the film is friendship, but specifically the feeling you feel when you lose a friend because of political differences,” explained Sura. “This is really small because it is only between you and another person. But because the reason is a greater social cause, one of the most important things I was trying to do is suggesting the mind of size through these small reactions.”
By working on budget restrictions, Sora has made strategic options to inflate the effect of the film. A protest scene was originally cut off in the text program, which Sora believes that he was narrated by focusing exclusively on the Potato Perspective after his friend Ko walks to follow political activity. “Co suddenly has this world that cannot reach us, just as it cannot be reached on Utah,” said Sora. “These types of achievements that we may live in different worlds now, although our worlds were once – those things that lead to the end of their friendship.”
“Happyeend”, the DJ culture is somewhat close, dominates the music created from artificial intelligence, and explores “Happyend” marketing resistance. The film opens with salads that close the underground music. “The majority of people listen to the music created by artificial intelligence, depending on what makes you want to listen to,” Sora revealed the preparation of the film. “These DJ population contradicts it. They are like, no, we want to choose what we listen to and discover the things that resonate with us today from the past.”
Sora uses this narrative framework to examine Japanese identity and foreigners’ fear, which is directly connecting it to the loss of historical memory. “Something I really want to interrogate is what Japanese identity,” Sora said. “It was very built. When I was thinking about the reasons for the presence of many foreigners and racism inside Japan, I reached the result, after research, the fact that Japan was not truly reflected in its colonial past.”
The director put in the post -World War Policies: “After Japan lost the war in World War II, this question came about what to do with all these people who were in the colonies, or who were colonies but they moved to Japan. The Japanese government was in fact afraid to grant citizenship to these former Japanese people because if they gained citizenship, they can vote.”
Despite the start of the scenario eight years ago, Sura noted that the themes of the movie were only more important. He said: “I did not deliberately present it now for any reason.” “It takes some time to develop, especially a first feature feature film.”
The director also discussed his approach to specific technical elements, including a painful silent earthquake scene designed for the masses that have suffered from actual seismic events.
When he was asked about the decrease in the rate of voters among the Japanese youth in exchange for the film’s focus on the protests, Sora highlighted that one major figure, Kou, lacks voting rights due to his status as the Korea Zainichi. “I do not necessarily think that voting is everything, everything in political participation and action,” Sora added. “Assembly in the streets, assembly in public places, in fact it may be the highest forms of democratic work that you can do.”
“Happyend” was nominated in the best new director and the best newcomer categories (Kurihara) in the Asian Film Awards for this year, where the winners will be announced on Sunday night in Hong Kong. The film first appeared in Venice and won prizes at Golden Horse and GoteBorg.
