BACKLIGHT director Ren SUDO © 2021『逆光』FILM
[日本語版は下にあります]
In the 2022 edition of the Nippon Connection Film Festival’s NIPPON VISIONS section, we are presenting Ren SUDO’s film BACKLIGHT.
Ren SUDO was born in Tokyo in 1996. While studying law at Keio University, he began working as a model and actor. He has been in a number of films and TV dramas since 2017, including LITTLE MISS PERIOD (2019 / NC ’20) and KAMATA PRELUDE (2020 / NC ’21). BACKLIGHT (2021 / NC ’22) is his directorial debut.
We thank Ren SUDO for this interview.
The story of BACKLIGHT takes place in Onomichi in the year of 1970. Why did you choose this particular setting?
I am an actor, and just before Covid-19, the first film that I played a main role in was screened at a film festival in Onomichi. My stay in Onomichi at that time was so pleasant that I extended my plan to stay one night and ended up staying two more. After that, just as I returned to Tokyo, the world was engulfed in an unprecedented pandemic and my daily life was lost under the state of emergency declaration. In the midst of all this, I wanted to go somewhere not here, sometime, not now. I think these irrepressible feelings made it possible for me to depict Onomichi in the midsummer of the 1970s, a time and people that had nothing to do with me.
What was it like directing and acting as the protagonist at the same time?
It was my first experience as a director, but since I am originally an actor, it was an easy way for me. However, I think the crew and actors around me were quite perplexed.
What was the biggest challenge you had to face while filming?
After all, it was my first time making a film so there was a lot to handle, but the biggest crisis was the 16-hour drive from Tokyo to Onomichi. My energy for shooting the film was almost completely taken away from me on that first day.
Which personal experiences, other films, or stories inspired you to film BACKLIGHT?
My roots are more in reading than in watching films, and I think I got quite a bit of inspiration from Japanese literature, such as Yukio MISHIMA, Junichiro TANIZAKI, and Haruki MURAKAMI.
As for films, I am also inspired by Trần Anh Hùng’s THE SCENT OF GREEN PAPAYA and WONG Kar-Wai’s works.
BACKLIGHT
Japan 2021, 64 Min
at the 22nd Nippon Connection Film Festival
The complete program and tickets are available on the festival homepage.
Check out the trailer here!
須藤監督の作品『逆光』の物語は1970年の尾道を舞台としています。この設定を選んだ理由を教えていただけますか。
僕は俳優として活動しているのですが、コロナ禍になる直前に、自分の初主演作を、尾道で開催された映画祭にて上映していただきました。その時の尾道の滞在がとても心地良く、一泊の予定を延長し、三泊ほどしてしまいました。その後東京に戻ったタイミングで、世界は未曾有のコロナ禍に覆われ、緊急事態宣言下で日常を失いました。そんな中、「ここじゃないどこか。今じゃないいつか。」に行きたかった。そんなどうしようもない気持ちが、1970年代の真夏の尾道という、自分にとっては全く関係のない時代と人を描くことを可能にしたんだと思います。
監督であり、同時に主人公を演じるのはいかがでしたか。
初めての経験でしたが、元々俳優の自分にとってはやりやすいやり方でした。周りのスタッフや俳優はかなり戸惑ったかと思いますが。
撮影にあたって最も大変だったことは何でしたか。
なにしろ映画を制作するのが初めてだったので、大変なことづくしではあったのですが、一番の危機は東京から尾道への16時間かけての車移動でした。映画を撮るエネルギーを、初日で根こそぎ持っていかれかけました。
個人的な経験、見た映画や物語など、『逆光』のインスピレーションはどこから得たのでしょうか。
僕は映画鑑賞より、読書にルーツがあるので、三島由紀夫、谷崎潤一郎、村上春樹など、日本文学からかなりの部分インスピレーションを受けていると思います。
映画だと、トランアンユン監督作品の「青いパパイヤの香り」や、王家衛監督作品などからも影響を受けています。
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