Ken Ninomiya was born in 1991 in Osaka. He started his career in film in 2014, with two shorts and he did his feature debut in 2015 with Slum-Polis. Starting with his third film, “The Limit of Sleeping Beauty”, he garnered international attention, with the movie screening in Hong Kong, BiFan (Korea) and Japan FIlmfest Hamburg.
On the occasion of his latest film, “Chiwawa” winning the Best Japanese Film of 2019 in our list, we speak with him about adapting Kyoko Okazaki's manga, show business and youth in Japan, working with Tadanobu Asano, Chiaki Kuriyama and Mugi Kadowaki, and other topics
Translation by Nikodem Karolak
Why did you decide to adapt Kyoko Okazaki's manga? Did you find more difficult adapting the work of someone else than writing your own script?
“Chiwawa” is a short comic book that consists merely of thirty four pages. However, at the time I read it, it conveyed emotions and visions I wanted to transform into a film. When one has a defined plan with the original story as a backup, the adaptation process is not difficult.
How difficult was to unfold the narrative in different timelines? What was your approach towards the editing like?
I put bigger stress on how to effectively develop the theme than on the timeline itself. I wanted to make the storytelling meaningful, as well as human memory and the remnants, so the editing was meant to pull the strings of the viewers in that aspects.
Visually, the film is quite impressive, Can you give us some details about the cinematography and the coloring? And how was your approach towards the music of the film?
I put stress on the vivid portrayal of youth that is in conflict both between sweet and bitter, beautiful and stained. In order to boil up these contradictory emotions set up in the modern world, I used a wide range of shooting devices, from standard camera to iPhones. Same goes for music, where I wanted to combine both the atmosphere of transiency and universality.
Two of the most central subjects of the film are the dark side of show business, and the lack of purpose the youths in Japan experience nowadays. What is your opinion on these topics?
Japanese young people nowadays are said to being apathetic. It is also very impressive how the consumption of the youth can be so merciless in show business. The absurd flow of information, the indifference to others, and the lack of awareness of the times we live in can unconsciously lead us to human tragedy.
Chiwawa's character gets completely deconstructed as the story progresses. How did you guided Shiori Yoshida for the role and particularly that part?
In the film, Chiwawa constantly wears a smile. Under no circumstances she reveals her inner, complex emotions. That is what is considered ambiguous about her character among her friends. I explained to Yoshida that Chiwawa is a girl that operates being stranded between to choices: “to like” and “to love”.
How was the casting process for the film like? How was the experience of cooperating with Tadanobu Asano, Chiaki Kuriyama and Mugi Kadowaki?
Mugi Kadowaki is an exceptionally good actress. She is actually the pillar of this film. Working together with Kuriyama and Asano was very cool and inspiring experience.
Can you give us some information about the location the film was shot?
The majority of the scenes were shot in Shizuoka and Tokyo.
What is your opinion of the Japanese movie industry at the moment?
I think it is very restricted and exclusive. Currently, the movie industry worldwide is in the process of transition. Japanese creators of film culture should take up certain measures, so as not to fall behind, while the rest of the world is looking forward to the future.
Are you working on any new projects?
Yes, I have already finished shooting my new film and getting prepared to board on another projects. There are constantly new ideas I want to develop.
