Living in Leeds as a film fan has its perks. The city has a long historical association with filmmaking, and annually hosts the Leeds International Film Festival, celebrating films from across the world. Despite living in the city for over a decade now I only started attending the festival in recent years, but it’s quickly become an annual tradition of my own. Every year I enjoy looking through the programme, keeping a particular eye out for Japanese cinema. 2020 has disrupted this yearly ritual as much as anything else. LIFF2020 is smaller, with fewer feature films on the programme, and split between some of its usual venues and a new online player.Continue reading “LIFF2020 Programme”
I’m not sure when I first heard of Shinichiro Ueda’s One Cut of the Dead (2017) but it quickly grew to be one of my most anticipated Japanese films, and I watched it creep up the UK from London festival by festival until it finally arrived in Leeds. I’d heard all kinds of good things about it: that it was an excellent zombie comedy, that it featured an extremely long single take shot – the ‘one cut’ of the title. The praise was so effusive I was determined to see it, but I still didn’t really know what to expect. The rough plot outline that I had heard, and that I will share here again, is that a low budget zombie horror film is interrupted by actual zombies and the director is determined to incorporate the real attacks into his film – in Japanese, the title is カメラを止めるな！ or ‘Don’t stop the camera!’. While that’s a wonderful title, it only scratches the surface of what makes One Cut of the Dead great.
It’s that time of year again: November approaches, and with it, the 32nd Leeds International Film Festival. Last year was in part a celebration of Japanese director Takashi Miike hitting his 100th feature film with Blade of the Immortal, and I wrote about the many other Japanese films featured that year. Then, flu struck me down, and I still haven’t caught up on Miike! This year I’m armed with a flu jab and a fresh copy of the festival’s programme. Let’s take a look at the Japanese cinema exhibiting this year:
Dir. Tadashi Nagayama
Caring for his uncle with dementia, Taka lodges in an idyllic thatched cottage in the countryside. When the uncle’s son Mitsuaki returns, his quiet life of caring and bongo-playing seems in doubt, until he and childhood friend Sho are reunited in friendship. But unwelcome visits by a nature-obsessed family from Tokyo threaten to overturn this bucolic existence. At heart a gentle pastoral comedy and satire of romanticised country life, in the hands of Tadashi Nagayama (director of 2016’s Journey of the Tortoise), events start to take a very unexpected direction.
Dir. Shinsuke Sato
From the original manga and anime series comes a brand new live action sci-fi superhero showdown from Shinsuke Sato. The ineffectual father of an uncaring family and with even more bad news on the way, Inuyashiki is suddenly struck by a mysterious explosion, awaking to discover his body has acquired fantastically powerful robotic innards. Unsure of the extent of his abilities, but resolving to do good, he is unaware that a teenager, Shishigami, was also caught in the same explosion. Shishigami may have similar powers, but he harbours more psychopathic tendencies.
Dir. Mamoru Hosoda
From acclaimed director Mamoru Hosoda (Summer Wars, Wolf Children), Mirai is a daringly original story of love passed down through generations. When four-year-old Kun meets his new baby sister, his world is turned upside down. Named Mirai (meaning ‘future’), the baby quickly wins the hearts of Kun’s entire family. As his mother returns to work, and his father struggles to run the household, Kun becomes increasingly jealous of the baby. Mirai is a sumptuous, magical and emotionally soaring adventure about the ties that bring families together and make us who we are.
Dir. Shin’ichirô Ueda
Hack film director Higurashi (whose motto is ‘fast, cheap, but average’) is hired to make a zombie film in an abandoned WWII Japanese facility, allegedly used for human experiments by the military. In the middle of the shoot they are attacked by real zombies, much to the delight of the director who is determined to include the carnage in his film. Opening with an epic 37 minute single take, this low budget film challenges the tired genre and delivers a truly unique fast-paced, laugh-out-loud, meta-as-possible zombie comedy.
One Cut of the Dead was one of my ‘dream picks’ for the festival since hearing about it a few months back. It played at Frightfest in London, then in the fantastically named Abertoir horror festival in Aberystwyth, then Nottingham – I had my fingers crossed it would finally work its way up to my home town. When it didn’t make the highlight reel at the programme launch event I was disappointed, but here it is! Squirrelled away in the annual ‘Night of the Dead’ marathon.
Dir. Hiroyasu Ishida
In this debut anime feature from Hiroyasu Ishida, Aoyama is a serious 10 year-old boy who records all of his day-to-day experiences in his notebook. One day in May, penguins inexplicably appear in his home town, despite it being located a long way from the sea. When Aoyama sees ‘Big Sis’ drop a soft drink can which inexplicably turns into a penguin, he decides to investigate and resolve the mystery behind these strange events.
Dir. Hirokazu Kore-eda
Winner of this year’s Palme d’Or, this deeply rich story of a deeply poor family will steal your heart. On wintry Tokyo backstreets, a man and his young boy are doing the shopping for the household – their practiced shoplifting routine yields food for everyone. Going home they spot a hungry little girl and before long the family has extended to six – poor but loving, and often joyful. From the director of Like Father, Like Son and Our Little Sister comes his most beautifully satisfying film yet.
Dir. Juzo Itami
Trucking stranger Goro rides into town and takes shelter in a failing out-of-the-way ramen restaurant. He takes pity on the downtrodden proprietress Tampopo, and with a diverse team of local noodle, broth and topping experts sets out to turn Tampopo’s tired old joint into the finest in Tokyo. Into this light soupy story many satirical ingredients are mixed: Tampopo’s buffet of deliciousness riffs on Japanese corporate culture, internationalism, domestic relations, cinema and always sex. One of the best Japanese films of the 1980s, Tampopo is impossible to watch without dreaming of hearty post-movie eats.
I was such a huge fan of A Taxing Woman that I really wanted to track down some more of Itami’s films, and as Tampopo is one of the few with a readily available Western release, it’s high on my list. I’ve put it off and put it off, though, and here comes two opportunities to see it in Leeds. The first at the film festival, and then in a “Ramen & a Movie” screening at The Reliance!
Dir. Kôichirô Miki
‘I am a cat. As yet, I have no name’. So begins the chronicles of Nana, a stray cat who has adopted its own master, Satoru, as he sets out to revisit friends from his past, with a request that Nana doesn’t yet understand. Partly narrated by Nana herself and based on the enormously successful Japanese novel by Hiro Arikawa, The Travelling Cat Chronicles is a humorous and tender exploration of how small acts of kindness and sacrifice can make a difference in the unexpected events of people’s lives.
Despite warnings from hermit Old Man Lucky –Monkey, Bobby, his friend Akkun and Derrick the cat explore the local mountains, where they discover a mysterious alien invasion-themed amusement park. Little do they or we know the truly deranged horror and grotesquery awaiting these innocents. Filmed live in ‘Geki-mation’ – painstakingly hand-painted cardboard cutouts with in-camera effects – this colourful fairytale aesthetic erupts in a torrent of grotesque mutilation, child-robot hybrids, bodily fluids and forest animals. A uniquely entertaining, disturbing and unforgettable film.
That covers all the Japanese feature films at this year’s festival, but I wanted to mention one South Korean entry in particular. It’s based on a short story by Japanese novelist Haruki Murakami.
Dir. Chang-dong Lee
The new film from leading Korean director Lee Changdong (Oasis, Poetry) took eight years to arrive but it was more than worth the wait, stunning critics at Cannes Film Festival this year. A beautifully-crafted mystery thriller based on a short story about obsessive love by Haruki Murakami, Burning starts out as a story about a deliveryman who cares for his girlfriend’s cat while she goes away to Africa. Then she returns with a stranger.
Of course, there’s more to the festival than Japanese film. There are some big, mainstream films getting early showings, like Widows and The Old Man & The Gun, stunning documentaries like Genesis 2.0 and Welcome to Sodom, and plenty more that I’ve only skimmed over. As well as catching several of the above Japanese films, I’ve already grabbed tickets for Sorry to Bother You on the opening night, and a screening of Dredd as part of the festival’s “Timeframes” collection of films taking place over a single day. What will you be seeing?
Every year in my adopted Yorkshire hometown, Leeds holds the Leeds International Film Festival. This year marks the 31st, and
for the first time for only the second time since catching Howl’s Moving Castle back in 2005, I’m actually paying attention to what’s on offer. While there are plenty of noteworthy films in competition for the first time or being replayed on the festival’s cult or retrospective circuits, this site of course focuses on Japanese cinema, so here’s my breakdown of the Japanese films on offer at #LIFF31.
The only Japanese film in the festival’s official selection – described as “some of the most anticipated films of 2017, alongside outstanding debuts” – is Atsuko Hirayanagi’s first film, Oh Lucy! (2017). Adapted from a 2014 short of the same name, it stars Shinobu Terajima and Josh Hartnett.
With few exceptions, the remaining Japanese films can be found in two marathon sessions – Animation Sunday (Sunday 5th November) and the Manga Movie Marathon (Sunday 12th November).