About 15 years ago, I had the idea of making a movieabout onnagata [male actors who play female characters] in kabuki performances. I did a lot of research and got deeper into the world of kabuki. In retrospect, maybe my film, Kokuho, emerged from this early conception. Originally, I intended to write a story modeled on an actual actor, but I didn’t know where to go from there. At the time, the project was too ambitious for me to handle.
Then I had an opportunity to speak with the novelist, Shūichi Yoshida, whose novel, Villain,I’d adapted into a movie. I mentioned my idea about a kabuki-themed movie and he seemed interested. A few years later, I heard about his new novel which would be serialized in a newspaper. It was about kabuki, which intrigued me. With no objective in mind, I was keen to know how Yoshida would depict the world of kabuki and what story he would tell. I didn’t immediately think of adapting his novel, KOKUHO, because my earlier attempt hadn’t worked out. Then I observed enthusiasm building around the idea of making Kokuho into a movie until it slowly distilled into reality.
I was cautious but I was certain of one thing. The movie could only proceed if we could find an actor capable of portraying the protagonist, Kikuo, as he would carry the movie. Then I had a fortunate encounter with the actor, Ryō Yoshizawa. Without exaggeration, the project would have
ended if not for Yoshizawa. It went ahead because we had him; Ryō Yoshizawa is the movie. Kikuo, the character that Yoshizawa played, would be the spine of the story. If I had just picked up episodes related to Kikuo from the novel, the movie risked being just a catalog of events in Kikuo’s life. I decided to focus on his journey of ups and downs, on the arc of his life and where it draws him and where he ends up. That would shape the movie. As the son of a gang boss, Kikuo’s life revolves around the blessings and curses of lineage as he dives into the world of kabuki.
That was the plot but what was more essential to show was Kikuo’s soulful connection with Shunsuke. There’s a ying/yang component to their relationship and their souls appear to meld on stage. With that in mind, when we developed the screenplay, I carefully extracted scenes from various kabuki acts that would symbolically show the highs and lows of the two men’s lives together and how they become one in communion. Kikuo and Shunsuke are immersed in the unique world of kabuki where the art is passed on through succession. Preserving the intangible art of kabuki through generations of actors. My initial interest in onnagata probably explains my fascination with kabuki. There is a timeless quality to onnagata, they’re an androgynous depiction of other. They’re atypical, in a class of their own. They’re sensual in a sophisticated way and if I may say...the sensuality strikes you unexpectedly. I don’t know where it comes from, maybe from the corporeal intensive training? But I was firm on NOT employing trained kabuki actors as dance doubles for Ryō Yoshizawa and Ryusei Yokohama [who played Shunsuke]. I was convinced that having these two actors perform the kabuki acts would breathe life into the movie adaptation and keep it authentic. The character of Kikuo is on a life-long quest to find an allusive “scenery”. I’ve come to believe that it’s the same scenery that Ryō Yoshizawa would have seen as he tackled the demanding role of a kabuki actor.
On the latest episode of the Bratt's Bin movie podcast The Crow (1994) is discussed. Robert Aaron Mitchell joins Jared Bratt and Carl Diamond as the trio conduct a deep-dive conversation about the movie which premiered thirty years ago this year. Entertaining and informative here is the video.
I was able to have a great interview with director and writer Kenichi Ugana over zoom. We spoke about The Gesuidouz and the reception the movie had at the world premiere at the Midnight Madness programme at the Toronto International Film Festival. We spoke of our mutual love of punk music and horror films. The challenges of making the movie and how they were overcome. The incredible cast he assembled to realize the movie. Here is our conversation.
On my last day at the 2024 edition of the Toronto International Film Festival I was able to have a sit down conversation with Ukrainian filmmaker Pavlo Ostrikov. We spoke about his science fiction movie U Are The Universe. The seven year journey it took to realize the film, finding his cast, the design of the movie as well as what life is like during the war to stop the Russian invasion.
Here are some more exclusive stills from U Are The Universe.
The first Saturday is very special during the Toronto International Film Festival. King street is closed for festival street. There are a lot of food trucks, film related vendors, music fills the air. The hot humid late Toronto summer gives way to a brisk evening. The sun sets, the city glows and around The Royal Alexandria the buzz of the audience making their way to midnight movie can be heard. This year the buzz was palpable as Joseph Kahn returned to the Midnight Madness programme with his latest film, Ick. A creature feature, much different then his underground hip hop battle movie, Bodied - which was a huge hit in 2017 at tiff. Joseph assured me that the audience would have a different yet equal amazing film experience. At the red carpet world premiere I was able to talk with actor Zeke Jones who plays Griffin in the movie Ick. Here is our conversation.
There is still some films playing throughout the festival village along King Street. However one of the ceremonial closings of the the Toronto International Film Festival is The People's Choice Award. The festival has long been known as the kick off to awards season. The audiences of Toronto have vaulted many films to Academy Award Best Picture nominations and wins. The last twelve People's Choice Awards have been nominated for Best Picture with four of them winning. The King's Speech, 12 Years A Slave, Green Book, Nomadland. Most notable was Danny Boyle's Slumdog Millionaire a film the distributor was going to dump and decided to submit to tiff. It go on to be nominated and win 8 of the ten categories including best director and best picture in 2009. Without further ado here are the winners....
The 2024 tiff People's Choice Winner The Life of Chuck Directed by Mike Flanagan Kudos to Midnight Madness alumni Mr. Flanagan.
The 2024 tiff Midnight Madness People's Choice Award Winner. The Substance Directed by Coralie Fargeat
The 2024 tiff People's Choice Award Documentary Winner. The Tragically Hip: No Dress Rehearsal Directed by Mike Downie
