Japanese filmmaker visits Santiago

By David Azócar

Higashi Yoichi, who is an admirer of Pablo Neruda and Claudio Arrau, has come to Chile in order to present his film My Grandpa at the Chilean National Library’s Japanese Film Festival. Yoichi considers himself to have been influenced by Silvio Caiozzi and Chile's Raul Ruiz.

Japan annually produces just over 400 films. With luck, a few arrive to Chile. And these usually involve animé. Therefore, the arrival of a Berlin Silver Bear-winning director (Village of Dreams – 1996) is quite an event.

My Grandpa will launch the festival which is sponsored by the Japan Foundation and the Embassy of Japan in Chile. It tells the story of 13-year-old Tamako (Satomi Ishihara) and her grandfather Goai Kens (played by Sugawara Bunt, the blind samurai in Zatoishi). The grandfather comes into her life when he completes a sentence for having killed a Yakuza mobster.

Following the 8 mm screening, more than 50 spectators had the opportunity to talk with the international director through the help of a translator. Here's some excerpts of what he had to say.

What do Japanese people know about Chilean film?

Japan knows very little about Chile. There are not many movies that make it there. We had a chance to see, for example: the first films by Andres Waissbluth, Raul Ruiz’ Klimt or the House of Spirits, based on the book by Isabel Allende. But we definitely don’t get the opportunity to see many.

Would a film in Chile and based in our country?

Definitely not, because I would at least have to know the language in order to get something like that done. I am very respectful of cultures. I would need to spend at least ten years in Chile in order to immerse myself in the gestures and details of language, to truly understand it. Basically, to understand the idiosyncrasies of the country.

Why are your films better known in Europe than in the United States?

While there is no clear reason, I think the fact that I have never allowed my films to be dubbed into other languages may be a factor. The American public is reluctant to watch movies that are not in English.

I am a defender of subtitles, because I believe that the actor must be seen in their own language. Nuances and the intention of the director and screenwriter are better achieved this way.

In order to truly understand a poem, it is best to hear it in its original language first. Neruda is an example of this.

The latest Japanese films are showing less and less of Japanese traditions. Do you think this is a trend?

When I was young and just getting started in film, I also tried to break out of the traditional schemes. That’s only natural. As time passed, the maturity of a director is reflected in their films. But we need to remember that, in a universe of hundreds of directors, the possibilities to expand spectrum of subject matter are constantly improving.

The film series will be presented at Sala America, National Library. Tickets are free. Other films include: Juvenile, Robocon, and A Child’s Summer in 1945. All have had a measure of success with the Japanese public.