Daigo Matsui is a filmmaker and screenwriter, as well as founder and leader of the theatre group Gojigen. He debuted as a filmmaker with Afro Tanaka (2012). His other works include Sweet Poolside (2014) and How Selfish I Am! (2013). Wonderful World End (2014) was screened at Berlinale, and Our Huff and Puff Journey (2015) won two prizes at the Yubari IFFF. For both, he also won the Best New Director prize at the Tama Cinema Forum. Just Remembering (2022) received a Special Mention and the Audience Award at the Tokyo Grand Prix, while his most recent film, Hand (2022), is selected as part of IFFR 2023.
On the occasion of “Hand” screening at International Film Festival Rotterdam, we speak with him about the differences between the old and new Roman Porno films, shooting an erotic film during the MeToo era, the casting, the erotic scenes and many other topics
Hand is screening at International Film Festival Rotterdam
Have you watched any of the Roman Porno films of the past? If yes, how do you think your film differs from them?
The original Nikkatsu Roman Porno line ended before my generation so I did not get to watch them in real time, but for the 50th anniversary of the particular series, I went through a lot of them. Where “Hand” differs is that the older films were really male-centered, but my focus in the movie is female-centered, in resonance with the current situation of the world.
I am not sure if you have any feedback yet, but do you think women will enjoy watching “Hand”?
The older Roman Porno films used to be shown at adult theaters and their main audience would be predominantly male. For this film, the screenings take place in “normal” theaters so women can also watch. I want them to enjoy the film and I feel that the appeal of the Roman Porno films has been conveyed through this film to women also.
There were three main rules in the Roman Porno films of the past, regarding the duration of the film, the duration of shooting, and the frequency of sex scenes within the movie. Did you have to abide by any of these rules when you were shooting “Hand”?
Regarding the film duration, I was not really bound by it, because this film will be standalone, not part of a two film program as it was occasionally the case in the old Roman Porno line. Regarding the schedule of shooting, I did it within eight days total and for the third rule, having sex scenes periodically, I was not aware of that “tradition” but for my film, I focused on the sex scenes complementing the development of the protagonist Sawako, so it was more in the rhythm of the story than by following some rule of frequency.
Considering that nowadays the MeToo movement is quite dominant and also considering that in the previous batch of the New Roman Porno films, one was from Sion Sono, who has been in trouble lately due to alleged misbehavior towards his actors, were you afraid to take upon such a movie in this setting?
I am very aware of the current setting, so at first, there were some discussions with the producers if it would have been better for a female director to shoot a film like this. However, I got offered to direct this project and I considered my duty to treat the subject with respect and kind of update the perspective, by changing the male-centered approach of the older films, and particularly the forcefulness of men. I really did not want that in the film, I would focus on presenting the consent that took place between men and women during the sex scenes.
Check out the review of the movie
The film also focuses on the place of women within Japanese society, particularly inside the office as a work environment. Can you tell us your opinion regarding this topic?
As a general rule, I think the position of Japanese women in society has improved a lot, and it has become a lot more transparent than it was years ago. However, I still think the older generation were, not per se oppressive, but still work with the old perspective about the place of men and women in society. I hope that it will keep improving in the future also.
Can you give us some more details about how the casting worked for the movie?
For Akari Fukunaga, who plays Sawako, we had extensive auditions and one of the things we asked of the actresses was to be willing to do nude scenes. We handed out the script and we asked them to act in some scenes and I based my choice on whether the actress could retain a sense of serenity and stay confident. That was very important for me. We had auditions for Sawako and her sister and after we found the actresses for the roles, we offered the other parts.
During the auditions of the actresses, do you ask them to act sex scenes, or does that come later?
We did not ask them to act in the sex scenes during the audition, but we asked them to do relational scenes with the father or Mori for example. What I considered the most important factor in selecting the actress for Sawako was to see how she would react towards an older man, around the age of her father. Akari Fukunaga had different emotions and opinions towards older men. She had this cuteness and that is why I selected her for the role.
How was your collaboration with Kanji Tsuda?
I have been working with him in a TV drama called Byplayers, which focuses on the experiences of supporting actors. Our collaboration was pretty good and that is why I offered him the role of Sawako's boss in “Hand”.
Can you give us some details about the sex scenes, how did you cooperate with the actors and what was your approach during the shooting?
As we were on a schedule during shooting, we did a lot of rehearsals beforehand. We discussed what would be natural for the actors regarding their movements during the sex scenes. From the production's perspective, we discussed how the faces of the actors would be lighted, for example. During the shooting, we wanted to make the filming as efficient as possible, we would not do a lot of retakes, so we would take good care of the setting of the scene, regarding the lighting for example, and we would shoot with as few crew members as possible.
Did you ever feel uncomfortable or anxious while shooting the erotic scenes?
The only thing I would be anxious about is how they would look nude during the scenes, since the sensitive parts of their body were taped and of course, these tapes could not be seen because it would ruin the whole idea of them being nude. My biggest concern was not to have those tapes on screen, particularly since it is like shooting an action movie, with all the movement taking place.
What is your opinion of the Japanese movie industry at the moment?
A lot of films come out every year in Japan and most of those are meant for the domestic audience and one of the reasons is the thematic appeal of the films, that they are made to appeal to the Japanese audience and maybe less to international audiences. I would like for Japanese to be crossing borders more and getting international attention as well. It is also a matter of how the industry is set up, therefore, I would like to make films that appeal internationally, but sometimes I feel a contradiction, that in order to be successful internationally, one has to be successful in Japan and there are different conditions for each.
Are you working on any new projects?
I think I will be dealing pretty much in the field of romance, maybe not exclusively but I have been thinking of working on a film project in which I focus on the structure of the story. I think that the story and the structure of stories speak without language, they cross borders, that both can be understood even if the language is not understood, and can be seen internationally. Maybe within the genre of romance. I am going to start working on such a project this year.
If Nikkatsu asked you to do another Roman Porno movie, would you do it?
If I can work in something new, for example in this film, I think I was able to make a movie that is very much from the female perspective, like a new wind for Roman Porno, so If I can do something new again, maybe I would.
