Worldwide Movie Pageant Rotterdam winner and debuting director Toshihiko Tanaka is ready to comply with “Rei” with “Shumari,” as soon as once more set in Japan’s Hokkaido.

“Over there, you will discover the most important synthetic lake within the nation. It’s man-made, however it nonetheless fantastically harmonizes with the encompassing nature, creating a shocking panorama. It will likely be a suspenseful movie, but when I needed to sum all of it up, I might say: It’s about love,” he tells Selection solely after the win.

Referencing precise occasions that befell earlier than and after World Conflict II, it can recall the tragedy of compelled labor victims. Engaged on dam development, each Japanese and Korean staff misplaced their lives. A few of them nonetheless await a correct burial.

“Makes an attempt to excavate and repatriate their stays proceed,” he provides.

“I’m anticipating a a lot increased funds than I had for ‘Rei,’ however I’ll largely give attention to the current and on the occasions that befell 20 years in the past. The aim is to mix intimate human drama with historic context, which continues to be very well timed, as soon as once more exhibiting the breathtaking fantastic thing about Hokkaido. However this time, my focus will likely be totally different.”

Tanaka can be growing a but untitled undertaking concerning the multiverse.

“I’m very taken with exploring the theme of house,” he says.

“I like ‘Interstellar,’ which is a lot greater than only a typical sci-fi film. I additionally need to depict huge, infinite prospects of the universe, going past the most recent scientific information, and mix it with bizarre human struggles.”

Whereas “Shumari” is anticipated to clock in at an audience-friendly two hours, “Rei” — at a sprawling 189 minutes — required a a lot larger scale.

“Even for me, it takes braveness to observe a three-hour-long film. Nonetheless, from the very starting I made a aware determination not to consider the viewers in any respect. I used to be influenced by Ryusuke Hamaguchi’s ‘Comfortable Hour,’ which is over 5 hours lengthy. Spending that a lot time with the characters felt like occurring a journey collectively.”

In “Rei,” produced by Tanaka himself and bought by Geta Movies, thirtysomething characters search for connection and love. Identical to Hikari, who then meets listening to impaired photographer Masato — performed by the director — whereas her buddy struggles with the calls for of motherhood.

“As an actor myself, I needed to make sure that every member of the forged acquired correct consideration and highlight,” he says. In “Rei,” he determined to work largely with non-professionals.

“I’m very taken with communication, particularly when it’s non-verbal. On stage, I stay and breathe phrases. Nonetheless, after I journey, I discover it difficult to precise myself in English. The difficulty shouldn’t be the language, nonetheless — it’s me. In Japan, I additionally wrestle to type relationships with different folks.”

He provides: “I actually really feel it’s getting more durable to type actual connections in Japan. Social media may need one thing to do with it. It’s a worldwide development, however I discover it particularly at dwelling.”

Tanaka is able to deal with topics that may increase a couple of eyebrows in Japan.

“Politics and faith are typically thought of taboo. Whereas there may be freedom of speech, expressing opinions on these subjects can shortly result in criticism. I wish to deal with that sooner or later after I really feel the necessity to take action.”

Having carried out on stage “for over 10 years,” he found directing through the pandemic.

“I began by writing a easy script and filming my buddies. Earlier than I knew it, it grew into one thing vital. I all the time felt that if I used to be to lose my curiosity within the characters I painting on stage, I wouldn’t be capable to proceed. After I turned 40, this sense intensified. Now, as a director, cinematographer and photographer, my technique of expression have considerably expanded.”

Nonetheless, making private cinema has confirmed to be a wrestle.

“In Japan, there may be nearly no current system to assist experimental cinema. For these sorts of tasks, filmmakers usually must depend on crowdfunding,” he says.

“In ‘Rei,’ one of many characters says: ‘It might be nice if we might enter an period the place solely good works survive.’ It actually displays my very own emotions. Our promotional funds for the movie was near zero, however I consider there may be potential for fulfillment on the native box-office.”

After his win, Tanaka is already specializing in his subsequent goal.

“My aim is the Palme d’Or,” he says. “That being mentioned, my best pleasure comes from participating with the crew on set and being artistic collectively. What I actually need to accomplish is finishing my Hokkaido trilogy — there will likely be one other instalment after ‘Rei’ and ‘Shumari.’ That’s my largest dream.”