Asian film awards in Hong Kong discussed the candidacy of director Neo Sora.
In the film, in the near future Tokyo, a catastrophic earthquake threat. Before the two friends, Utah (Kurihara Hayato) and Korean Kou (Hidaka Yukito), before heading the principle of vacation, the school control device.
Tokyo-based director’s debut feature film touches personal connections with greater socio-political issues described as “differences” between the intimate dynamics and social statements of the sora’s intimate dynamics and social statements. “The nucleus of the film is friendship, but when you lose a friend due to political differences,” Sora explained. “This is a really small thing, because this is among others. But the reason is one of the most important things that are one of the most important things I have passed since this small interaction.”
Sora, working within the framework of budget restrictions, made a strategic choice to strengthen the impact of the film. The first protest was cut in the screenplay in the street, this narrative, after wishing his friend’s political activity, justified the narrative by directed the prospect of Utah. “As the kou suddenly is unavailable for swallowing, it has this world, which is unavailable for us,” he said. “Though the types of implementation, our worlds are also the same, are now living in different worlds – are the things that lead to the end of his friendship.”
Whether the DJ culture has a slightly antique and creative music, it is established in the near future, “Happy” resistance to the commercial level of “happiness”. The film opens with authorities that connect the underground music space. “Most people listen to music created by AI, depending on the desire to listen,” Sora was discovered about the film. “This population of DJs goes against it. They listened to ourselves, and today we want to choose the things that really resonate from the past.”
Sora, this narrative uses this narrative frame to explore the basis and xenophobia, direct historical amnesia. “Something I really want to interrogate, even the Japanese identity is,” Sora said. “It is very built. When I think about the reason for so many xenophobia and racism, I came to a kind of Japanese to the colonial past, after the study.”
The filmmaker was developed in the post-WWII policy: “The Japanese government, which is in the colonies, but the Japanese government, in fact, it is very afraid to give citizenship to this former Japanese people, because they can vote.”
Although the scenario started eight years ago, Sora noted that the topics of the film were just more relevant. “I did not deliberately leave him for any reason.” “It’s especially needed to develop the first narrative artistic movie.”
The director also discussed the scene of a silent earthquake, designed to trigger the spectators living in specialized seismic events, including special seismic events.
Sora, Kou, Kou, Kou’nu stressed that there is no voting rights between Japanese youth in connection with the protests against protests. “I do not think that all of the voting, all of the end is in the political badge and the action,” Sora said. “The streets are the highest form of democratic movement you can do to the public, to make public.”
“Happy” is the best new director and the best newcoming (Kurihara) will be announced in Asian Film Awards, on Sunday night in Hong Kong, and Golden Horse and Goteborg won award.
