"Mononoke the Movie: The Ashes of Rage" Set to Screen at Shanghai International Film Festival and Fantasia International Film Festival!
"Mononoke the Movie: The Ashes of Rage" has been officially selected for screening at both the Shanghai International Film Festival and the Fantasia International Film Festival!
The Shanghai International Film Festival (June 13-22) marks the film's debut screening in China. The Fantasia International Film Festival, held in Montreal, Canada (July 17-August 3), is particularly noteworthy as the first chapter of the series previously won two awards there. This has generated significant interest from the world.
"Mononoke the Movie" Selected for Shanghai International Film Festival and Fantasia International Film Festival
"Mononoke the Movie: The Ashes of Rage" has been chosen for screening at both the Shanghai International Film Festival and the Fantasia International Film Festival.
The Shanghai International Film Festival, held in Shanghai, China, from Friday, June 13th to Sunday, June 22nd, is China's only film festival accredited by the International Federation of Film Producers Associations (FIAPF). Began in 1993, this festival has annually attracted over 2,000 films from more than 100 countries and regions worldwide.
With an annual attendance exceeding 500,000 viewers, the festival has become a highly anticipated event for film enthusiasts. "Mononoke the Movie" has been selected for the festival's "Panorama" section and is scheduled for on-site screening. This marks the film's premiere in China. The Panorama section, which showcases outstanding new and classic films from around the world, is known for its unique, open vision that sets it apart from other categories.
Furthermore, it has been announced that the film will be screened at the Fantasia International Film Festival in Montreal, Canada, which is held from Thursday, July 17th to Sunday, August 3rd. Now in its 29th year, Fantasia is North America's largest genre film festival, specializing in fantasy, action, sci-fi, and horror. It primarily showcases works from Asia, Europe, and North America. This marks the second consecutive year for the "Mononoke" franchise at the festival, following the screening of the first chapter, "Mononoke the Movie: Phantom in the Rain," which was released in July last year.
The first chapter received both the Best Animated Feature Film award and the Bronze Audience Award at the festival. The film's unique blend of traditional Japanese cultural elements like ukiyo-e and washi paper with cutting-edge 3DCG animation has garnered strong support from international audiences. The visually stunning world of "Mononoke," where every frame is a masterpiece, has solidified its reputation as a must-see on the big screen.
During the festival, attendees will receive two types of flyers (featuring teaser and main visuals) and a sticker sheet adorned with scales, one of the protagonist Medicine Seller's demon-fighting tools.
Director Kenji Nakamura states that "Mononoke the Movie" consciously incorporates colors with a global audience in mind. Recognizing that color perception varies among different ethnicities, the team has made efforts to create colors that are visually appealing to non-Asian viewers as well, such as increasing color saturation. As screenings at film festivals worldwide continue to be announced, anticipation is building for the international audience's reaction to the second chapter.
Details about screening times at each film festival will be announced at a later date.
About "Mononoke the Movie: The Ashes of Rage"
Synopsis
Shortly after the intense battle with the Mononoke Karakasa, the Medicine Seller (CV: Hiroshi Kamiya) shows up again in the Inner Chambers. Things had changed in the Inner Chambers following the previous incident.
Botan Otomo (CV: Haruka Tomatsu), from a noble family who took over from Utayama as the Chief Superintendent, runs a tight ship, focusing on discipline and balance. This leads to a growing divide between her and Fuki (CV: Yoko Hikasa), the self-made favorite concubine who has the Emperor's undivided attention.
As they're picking a guardian for the child of Sachiko (CV: Atsumi Tanezaki), the Emperor's official wife, something big happens that shakes up Fuki's situation. As a result, men who were pushed out because of Botan's father, Otomo (CV: Kenyu Horiuchi), start plotting against Fuki.
With everyone's different motives and the "fire rats's" plans spinning out of control, a string of bizarre incidents suddenly occur where people burst into flames and turn to charcoal.
Thinking it might be the work of Mononoke, the Medicine Seller tries to fix things but has a hard time with these tricky, group-acting spirits. To take down the Mononoke, the Medicine Seller dives into the darkness lurking in the Inner Chambers to uncover the three aspects [Form, Truth, and Reason].
Cast
Medicine Seller: Hiroshi Kamiya
Fuki Tokita: Yoko Hikasa
Botan Otomo: Haruka Tomatsu
Saburomaru Tokita: Yuki Kaji
Sakashita: Daisuke Hosomi
Asa: Tomoyo Kurosawa
Sayo: Yukana
Matsu: Ruriko Aoki
Kiyo: Yu Serizawa
Take: Himika Akaneya
Suma: Nanako Mori
Tenshi: Miyu Irino
Hokuto Mizorogi: Kenjiro Tsuda
Sachiko: Atsumi Tanezaki
Ryoji Tokita: Cho
Elder Otomo: Kenyu Horiuchi
Katsunuma: Naoki Kusumi
Fujimaki: Ryo Horikawa
Suikouin: Yoshiko Sakakibara
(C)ツインエンジン
※Some parts of this text have been translated using machine translation
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Kyodo News
a day ago
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The Resolve to Portray Shinobu Kocho: An Interview with Saori Hayami in "Demon Slayer: Kimetsu no Yaiba - To the Infinity Castle Chapter 1: The Return of Akaza"
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Seeing those scenes on the big screen again really touched my heart. ―― Please tell us about your memories or impressions of recording for this work. Hayami: This might be a bit off-topic, but before the voice recording, the staff and cast members had a kind of pep rally where we said, "Let's run in the same direction towards the 'Infinity Castle Arc'." From the very beginning, I felt that this is a work where the staff and cast are united in moving in one direction. This strengthened my resolve even further, and my approach to this work became to pour everything I could express into it. ―― In the previous work, the "Hashira Training Arc", we saw Shinobu Kocho preparing for the next battle. Based on that, could you tell us about any changes in Shinobu or how you approached your role for this story? Hayami: Since I joined this project, Shinobu-san has always been at the root of who I am. From the first scene where Shinobu-san appeared in the "Tanjiro Kamado, Unwavering Resolve Arc", I feel like I've been able to experience Shinobu-san's journey alongside her as the story progressed. Especially from the "Hashira Training Arc", I felt like I was carrying everything flowing through Shinobu-san's body along with her. I have this feeling of wanting to go anywhere and everywhere with Shinobu Kocho as a person. With that feeling, when I received the voice recording script, I couldn't bring myself to open it for a while. ―― In past interviews about the series, you mentioned that Shinobu Kocho might be outwardly imitating her sister Kanae's words and actions while keeping her true feelings deep inside. Hayami: That's right. Before reading the script, I thought I would express Shinobu-san as if she had internalized her sister. But when I finally gathered the courage to read the script before recording, feelings welled up inside me, and I felt like I wanted to do more and more. Shinobu-san has always been a person who's kept various thoughts bottled up inside her heart. ―― It becomes clear that Upper Rank Two, Doma, is the one who killed her sister. Could you share your memories or impressions of recording with Mr. Miyano, who plays Doma? Hayami: I was able to record in direct interaction with Mamoru Miyano-san (who plays Doma), which allowed me to express many times more emotion. Shinobu-san is also desperate, so I felt my emotions escalate more and more. I've worked with Miyano-san on so many projects over the years, and he's an actor I respect and trust, so this time it felt like we were starting from a relationship we've already built rather than creating something from scratch. ―― What are your impressions of Shinobu Kocho's successor, Kanao Tsuyuri? Hayami: When Shinobu first met Kanao, she was feeling a bit irritable. She couldn't ignore Kanao and was a girl who boldly threw money to take her in. But I think it was Kanao who was closest to Shinobu, watching her change after she lost her older sister. Kanao was initially silent and didn't show her emotions, but with the addition of many new friends, she also changed. In the "Hashira Training Arc," she was able to say, "I want to train more with you, Master." I believe Shinobu was able to feel Kanao's growth every step of the way. Because the two of them walked this path together, they were able to communicate their feelings to each other. I think this is proof of the bond that existed between them. Hayami: This is a story from the recording studio, but when Ai Kayano-san, who plays older sister Kanae, entered the booth, I was a little selfish and asked her to sit next to me, saying, "I want my sister right next to me." So, Ai-san sat on my left. Then, Reina Ueda-chan, who plays Kanao, sat next to Ai-san. We were able to have the three Kocho family members all sitting in a row. I felt like I could give my all to the recording after that! (laughs). So, I was able to record while feeling my sister and Kanao right there with me. As a side note, after the recording session was over, I was drenched in sweat and just casually said, "I want to eat meat." Ai-san immediately said, "Okay, let's go eat!" She invited Reina-chan, and the three of us from the Kocho family went to a yakiniku restaurant. I was so happy that Ai-san took us to a delicious yakiniku place. I was just overflowing with gratitude for everyone in the Kocho family. I want to continue moving forward without ever letting this sense of unity fade. Shinobu Kocho is a "being whose souls we have clashed and merged with each other." ―― What does Shinobu Kocho mean to you now, Hayami-san? Hayami: I feel like I've walked alongside Shinobu Kocho for a long time, getting to touch the very roots of her heart from up close. It might be a bit abstract, but she is a being whose soul and my own have clashed and merged. ―― In that sense, do you feel there are any shared traits between yourself and Shinobu? Hayami: If anything, she's a figure I look up to. Shinobu is someone with a strong will and a passionate fire burning inside her. At times, she teases the other Demon Slayers, like Tanjiro and Zenitsu, or deliberately says something a little mean, but at her core, she's completely straightforward. When I connect with that strong will, it's like she influences me—when I'm playing Shinobu, I get this feeling of emotions welling up from the pit of my stomach. ―― I imagine you've had opportunities to interact with international fans during the World Tour Screenings and other overseas events. Hayami: They greeted me with such big smiles, and it was clear to me that they truly love the Demon Slayer series. 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Interview by: Risk Son Photo by: MoA About "Demon Slayer: Kimetsu no Yaiba Infinity Castle" Synopsis Tanjiro Kamado – a boy who joined an organization dedicated to hunting down demons called the Demon Slayer Corps after his younger sister Nezuko was turned into a demon. While growing stronger and deepening his friendships and bonds with fellow corps members, Tanjiro has battled many demons with his comrades, Zenitsu Agatsuma and Inosuke Hashibira. Along the way, his journey has led him to fight alongside the Demon Slayer Corps' highest-ranking swordsmen, the Hashira, including Flame Hashira Kyojuro Rengoku aboard the Mugen Train, Sound Hashira Tengen Uzui within the Entertainment District, as well as Mist Hashira Muichiro Tokito and Love Hashira Mitsuri Kanroji at the Swordsmith Village. As the Demon Slayer Corps members and Hashira engaged in a group strength training program, the Hashira Training, in preparation for the forthcoming battle against the demons, Muzan Kibutsuji appears at the Ubuyashiki Mansion. With the head of the Demon Corps in danger, Tanjiro and the Hashira rush to the headquarters but are plunged into a deep descent to a mysterious space by the hands of Muzan Kibutsuji. The destination of where Tanjiro and Demon Slayer Corps have fallen is the demons' stronghold – the Infinity Castle. And so, the battleground is set as the final battle between the Demon Slayer Corps and the Demons ignites. Cast Tanjiro Kamado: Natsuki Hanae Nezuko Kamado: Akari Kito Zenitsu Agatsuma: Hiro Shimono Inosuke Hashibira: Yoshitsugu Matsuoka Kanao Tsuyuri: Reina Ueda Genya Shinazugawa: Nobuhiko Okamoto Giyu Tomioka: Takahiro Sakurai Tengen Uzui: Katsuyuki Konishi Muichiro Tokito: Kengo Kawanishi Shinobu Kocho: Saori Hayami Mitsuri Kanroji: Kana Hanazawa Obanai Iguro: Kenichi Suzumura Sanemi Shinazugawa: Tomokazu Seki Gyomei Himejima: Tomokazu Sugita Akaza (Upper Rank Three): Akira Ishida Dōma (Upper Rank Two): Mamoru Miyano Kaigaku: Yoshimasa Hosoya Keizō: Yuichi Nakamura Koyuki: Lynn ©Koyoharu Gotoge / SHUEISHA, Aniplex, ufotable *Some parts of this text have been translated using machine translation
Kyodo News
7 days ago
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Unraveling Akaza's Overwhelming "Strength" -- Interview with Akira Ishida, Voice of Upper Rank Three Akaza in "Demon Slayer: Kimetsu no Yaiba Infinity Castle"
To mark the release of "Demon Slayer: Kimetsu no Yaiba Infinity Castle," the latest installment in the series, animate Times is publishing a series of cast interviews. In this installment, we interviewed Akira Ishida, the voice actor for Upper Rank Three Akaza, who made a powerful debut in the "Mugen Train Arc" movie version. This interview delves into his return in the new film. We explore Akaza's character through Ishida's insights, specifically how he portrayed Akaza's obsession with "strength" and his thoughts on the intense battles with Tanjiro Kamado and Giyu Tomioka. As an Overwhelmingly Powerful Villain ――Five years after his shocking appearance in "Demon Slayer -Kimetsu no Yaiba- The Movie: Mugen Train," Akaza returns to the big screen. Ishida: As a voice actor, I'm truly happy that fans can experience Akaza's story in theaters again. His first appearance brought a unique tension, but having also appeared in the series, I felt more relaxed this time. ――What did you focus on when portraying Akaza throughout the series? Ishida: Given Akaza's role as a villain, I'm aware that a formidable enemy is crucial for an exciting story. He's depicted as incredibly strong, and I always strive to convey that strength convincingly. It's an aspect I can't overlook when playing Akaza. ――How do you perceive Akaza's popularity after the "Mugen Train" arc? Ishida: To be honest, I don't truly feel his popularity firsthand. Perhaps it's because he made such a big impact as "the one who defeated Rengoku." Nevertheless, he's undeniably an overwhelmingly powerful character—strong to the point of being detestable. I believe these extreme characteristics are what captivate the audience. The Contrasting Evolution of Tanjiro and Giyu ――Akaza once again confronts Tanjiro and his companions. What are your thoughts on Tanjiro's ongoing transformation and growth? Ishida: It's fascinating to observe the shift in Akaza's perception of Tanjiro, a change that Tanjiro himself seems to acknowledge. As the story's protagonist, Tanjiro's growth is essential. Akaza's presence at this juncture is serendipitous; as a character consumed by the pursuit of strength, he serves as a formidable obstacle in Tanjiro's path. ――So, Akaza's role in Tanjiro's development carries multiple significant implications? Ishida: Indeed. Akaza, through his relentless pursuit of ultimate strength, has become an incredibly powerful adversary. This paradoxically highlights why Tanjiro needed to grow. ――Then, what are your thoughts on Giyu Tomioka? Ishida: Giyu is strong, but he also judges himself fairly. He sets a strict standard for himself, which is a defining characteristic. ――The battle scene with Tanjiro, Giyu, and Akaza is a major highlight. What were your impressions after watching the footage? Ishida: It's a perfectly crafted visual spectacle with continuous, intense action and sword fighting. You can truly sense why these three characters excel, making it a highly satisfying scene. What Makes Voicing Akaza Fun? ――As mentioned earlier, Akaza looks like he's enjoying the battle itself, which symbolizes his strength, doesn't he? Ishida: Akaza thrives on fighting, especially against stronger opponents. My focus during recording was to convey his intense enjoyment while battling Giyuu. ――Sakurai-san mentioned feeling "overwhelmed" by your portrayal of the battle. Ishida: Really? Tanjiro and Giyuu have a different intensity in battle compared to Akaza. Confronting them, I felt Akaza's stance shifting, particularly at the beginning where he clearly underestimated Tanjiro. ――Lastly, any message for fans eagerly anticipating the upcoming story? Ishida: Part 1 is "Akaza Returns," as the subtitle suggests. While I want everyone to enjoy his story, the episode is incredibly dense, truly cinematic. I hope you'll come to the theaters and follow the progression into the second and third chapters. Let's all move towards the ultimate goal of "Demon Slayer." [Interview by Layla] About "Demon Slayer: Kimetsu no Yaiba Infinity Castle" Synopsis Tanjiro Kamado – a boy who joined an organization dedicated to hunting down demons called the Demon Slayer Corps after his younger sister Nezuko was turned into a demon. While growing stronger and deepening his friendships and bonds with fellow corps members, Tanjiro has battled many demons with his comrades, Zenitsu Agatsuma and Inosuke Hashibira. Along the way, his journey has led him to fight alongside the Demon Slayer Corps' highest-ranking swordsmen, the Hashira, including Flame Hashira Kyojuro Rengoku aboard the Mugen Train, Sound Hashira Tengen Uzui within the Entertainment District, as well as Mist Hashira Muichiro Tokito and Love Hashira Mitsuri Kanroji at the Swordsmith Village. As the Demon Slayer Corps members and Hashira engaged in a group strength training program, the Hashira Training, in preparation for the forthcoming battle against the demons, Muzan Kibutsuji appears at the Ubuyashiki Mansion. With the head of the Demon Corps in danger, Tanjiro and the Hashira rush to the headquarters but are plunged into a deep descent to a mysterious space by the hands of Muzan Kibutsuji. The destination of where Tanjiro and Demon Slayer Corps have fallen is the demons' stronghold – the Infinity Castle. And so, the battleground is set as the final battle between the Demon Slayer Corps and the Demons ignites. Cast Tanjiro Kamado: Natsuki Hanae Nezuko Kamado: Akari Kito Zenitsu Agatsuma: Hiro Shimono Inosuke Hashibira: Yoshitsugu Matsuoka Kanao Tsuyuri: Reina Ueda Genya Shinazugawa: Nobuhiko Okamoto Giyu Tomioka: Takahiro Sakurai Tengen Uzui: Katsuyuki Konishi Muichiro Tokito: Kengo Kawanishi Shinobu Kocho: Saori Hayami Mitsuri Kanroji: Kana Hanazawa Obanai Iguro: Kenichi Suzumura Sanemi Shinazugawa: Tomokazu Seki Gyomei Himejima: Tomokazu Sugita Akaza (Upper Rank Three): Akira Ishida ©Koyoharu Gotoge / SHUEISHA, Aniplex, ufotable *Some parts of this text have been translated using machine translation
!["In This Corner of the World": Revisiting War, Legacy, and Suzu's "Corner" with Director Sunao Katabuchi [Interview]](/_next/image?url=https%3A%2F%2Fenglish-kyodo.ismcdn.jp%2Fmwimgs%2F2%2F0%2F1200x%2Fimg_20d5d1c6a034bdaaa5cab06f57423bf9480289.jpg&w=3840&q=100)
Kyodo News
05-08-2025
- Kyodo News
"In This Corner of the World": Revisiting War, Legacy, and Suzu's "Corner" with Director Sunao Katabuchi [Interview]
"In This Corner of the World," the animated masterpiece directed by Sunao Katabuchi and based on Fumiyo Kono's manga, meticulously portrays the life of Suzu Hojo, a woman who marries into a family in Kure from Hiroshima and endures the devastation of war. animate Times conducted an interview with Director Katabuchi, where we once again consider the continuous aspects of our lives that connect with the past, especially as we commemorate 80 years since the end of World War II and the year Suzu-san would have turned 100. The interview delves into profound questions: What constitutes war and daily life? How do we transmit stories across generations? And how should we interpret Suzu-san's "innocence"? Together with Director Katabuchi, we revisit and reexamine the "corner" of the world Suzu inhabited. Reevaluating Suzu-san's Daily Life ――This year marks both the 80th anniversary of World War II's end and Suzu-san's 100th birthday. What are your thoughts? Director Katabuchi: When "In This Corner of the World" was released in 2016, it reached audiences globally. Early on, in conversations with overseas fans, many expressed being moved by "Suzu-san's positive outlook on life." However, I suspected this might be a somewhat Hollywood-esque interpretation. I questioned, "Was Suzu-san truly that positive?" ――It seems more like she was simply carried along by the currents of the times and society. Katabuchi: Precisely. It was an era where people had no choice but to live as if swept along by the war. Although, after the war, Suzu-san does find something new, and the ending offers a sense of hope and a future. Yet, that future simply leads to our "ordinary daily life" today. Her life didn't necessarily create a wonderful world. It might be as simple as the fact that she continued to eat meals every day, bringing us to the present. But I wanted to convey the profound significance of such seemingly mundane things. Of course, even that daily sustenance has recently become precarious... ――Daily media reports have focused on rice-related issues lately. (Note: at the time of interview, Japan is experiencing a price surge of rice in the domestic market, impacting consumers' daily lives.) Katabuchi: These reports shock me; they suggest we're not moving toward a hopeful future. When "In This Corner of the World" was first released, I observed that many viewers, unfamiliar with this type of film, interpreted it through the lens of "conventional movies." From that perspective, Suzu-san, despite her passive existence, might appear to be living actively. In the context of entertainment films, Suzu-san could be seen as quite positive. While some viewers praised Suzu-san's courage and wisdom, I found myself questioning, "Where did she have the opportunity to exercise wisdom?" Suzu-san seems to maintain a smile, yet she progressively loses her capacity for joy. I believe we should deeply consider the implications of this. Naturally, it's not my place to dictate how an audience should view the film. However, I would be pleased if viewers approach this screening understanding that "this is not merely a work where a positive protagonist achieves an ideal ending." ――Suzu-san's realistic portrayal of daily life is likely the reason for the audience's emotional responses. Katabuchi: Depicting wartime solely as a period of scarcity could lead to the misconception that life was always austere. To counter this, we included scenes of pre-war life, featuring people eating cutlets or wearing modern girl fashion. Suzu-san's country had already experienced prosperity before the war; it wasn't a post-war development. Street photographs from around 1935 and 1955 are remarkably similar, with people and scenery appearing almost identical, suggesting a mere "dip" during the war years. Suzu-san grew up conforming to the norms of this wartime "dip." Interestingly, all the older characters who recall the pre-war era are shown complaining about the current situation. ――The film mentions Keiko-san (Keiko Kuromura, voiced by Minori Omi) as a "moga" (modern girl). Katabuchi: Yes, it seems Keiko-san and her mother (San Hojo, voiced by Mayumi Shintani) are reflecting on how they ended up in such difficult times. For example, Keiko-san might be thinking, "You shouldn't blindly believe everything in newspapers and magazines," especially when observing Suzu-san, who would make "Kusunoki rice" (a wartime substitute food) simply because she saw it in government propaganda, even when no actual rice was available. ――And in the end, it wasn't tasty at all (laughs). Katabuchi: Because it's just a method of food stretching during times of rice scarcity. For instance, if the government reduced the 10 kg rice ration to just over 9 kg, the remaining nearly 1 kg would be supplemented with rice bran to increase volume. In this context of food substitution, Suzu-san is told that "making Kusunoki rice including the bran is economical and nutritious." She genuinely believes this and follows the instructions. However, her mother takes the "Kusunoki rice," places it in a jar, carefully removes the bran, and then goes to eat it only after polishing. Considering the underlying meaning, we can see this quietly rejects Suzu-san's approach. The older generation, who experienced peaceful pre-war times, is implicitly disapproving of her wartime improvisation. ――As if to say, "There's no point in doing that." Katabuchi: Suzu-san pounds the rice in the bottle, believing this to be the correct way to prepare it. ――From a modern perspective, Suzu-san's actions might appear resourceful. Yet, they are subtly criticized. So, it's not simply an episode of her futile efforts. Katabuchi: Exactly. It's important to analyze the true meaning behind the mother's actions. Reevaluating The Narrative From Each of Their "Corner" ――In creating this work, you must have conducted extensive research and historical verification. Did you also manage to collect firsthand accounts from war survivors? Katabuchi: While we did gather some accounts, they weren't our primary focus. Our main approach involved reconstructing the era in our minds as much as possible, utilizing primary sources such as documents, diaries, and photographs from that period. We then used interviews to fill in any gaps. It's crucial to have a solid understanding of the context before conducting interviews; this allows you to properly grasp the meaning of the stories shared. The goal isn't to accept everything at face value, but to comprehend what's being conveyed. Relying solely on recollected narratives limits you to "only what remains in that person's memory." ――It can become too subjective. Katabuchi: Exactly. For instance, someone recounted seeing floating lights during the air raid on Kure, describing them as incendiary bombs. However, incendiary bombs actually fall with enough force to break through roof tiles. We need to be able to interpret these accounts, thinking, "Those were likely flares. The direction they described matches up as well." As time progresses, fewer people will be able to share these firsthand experiences. Only their "narratives" will remain as written records or data. We need to develop the ability to evaluate and understand these accounts from a different perspective. ――This relates to the issue of how we, as non-participants, can pass on the experiences of war. Katabuchi: Archiving firsthand accounts and diaries from that period seems to be a good approach. While personal storytelling is crucial for understanding nuances, there's a risk of losing those nuances when listeners retell the stories, and it's challenging to identify potential biases. Therefore, I believe it's best to comprehensively archive these accounts, making them readily available for reference and comparison. Among these, "diaries written during the war" are, in my opinion, the most valuable for archiving. ――Do such things still exist today? Katabuchi: Quite a few, actually. There are picture books from that era and illustrated diaries drawn by schoolgirls. Women of that time would carry two shoulder bags crossed over their body when going out, to keep their hands free. One bag contained an air raid hood, while the other held more everyday items. Looking at these bags depicted in the diaries from that period, you can see they were embroidered with flowers or cats. ――They did the embroidery themselves, right? Katabuchi: During wartime, when everything was strictly controlled and you'd think there was no room for extras, there were women embroidering cats on their bags. I've never seen a war movie featuring characters like that before. ――The air raid hood is also quite remarkable. (Note: it hangs like a shoulder bag.) Katabuchi: Air raid hoods, gas masks, and helmets aren't typical women's accessories. Yet, the unexpected appearance of flowers or cats on them completely alters our perception of wartime. I believe it's important to include these details when we mentally re-examine "what it was really like." While all spoken accounts are invaluable, it's crucial to reconsider their meaning within the broader societal context of the time. We should question if other possibilities existed and seek evidence to support them. This process of inquiry and verification, I believe, will become increasingly vital in the future. ――During the production of the series, were you already considering these ideas? Katabuchi: Before I began working on "In This Corner of the World," I was researching the historical aspects of aircraft paint. It's fascinating how different individuals describe paint colors, each imparting their own nuances. This led me to ponder the true color amidst these varied descriptions. However, I eventually discovered primary source material detailing the precise paint mixture ratios. It became clear that the diverse color tones people recalled were actually faded colors, altered by exposure to sunlight and air. Often, the truth diverges significantly from remembered accounts. Similarly, in the film's carrier-based aircraft raid, the anti-aircraft fire creates smoke that blooms like flowers in the sky. This imagery is also corroborated in the wartime experience anthology compiled by Kure City. The anthology describes various smoke colors, ranging from burnt brown to purple. Interestingly, the same collection includes recollections from American military personnel, who also observed "a variety of colors." At that point, I couldn't help but think, "There are simply too many different colors mentioned." ――But why were the shells colored? Katabuchi: The shells were filled with dye to identify which cannon they were fired from. The correct answer was found in a report by the American military who came to Japan after the war to investigate Japanese military technology. According to this report, there were only six colors. Moreover, it even listed the names of the dyes used and the exact percentages of each component. ――That's quite a detailed investigation. Katabuchi: This doesn't align with eyewitness accounts of dark brown or purple shells. When people say "there were many colors," we should understand it as "there seemed to be a lot of colors." By questioning "what were the actual colors?" from a different perspective and investigating further, we can finally obtain an objective answer. ――So it's about preserving the importance of narratives and testimonies while uncovering the truth from a different angle. It's not about believing or disbelieving, right? Katabuchi: I'd say it's about treating these narratives as clues and using them to search for the actual historical landscape. Finding out about specific dyes and their exact percentages brings us to an incredible level of realism. ――As viewers, how should we approach such narratives? Katabuchi: There's a similar incident related to Isao Takahata's "Grave of the Fireflies." In the film, incendiary bombs are depicted igniting mid-air as they fall. These bombs are essentially iron cylinders filled with napalm, a gel-like form of gasoline, contained within nylon bags. ――So, that's why they cause widespread fires? Katabuchi: Their design is to penetrate roof tiles, stop in the attic, and then unleash the ignited napalm bag like a firework. However, it's puzzling why they would ignite while still falling. Takahata-san tasked his assistant director with researching this mechanism, but the response was, "No such mechanism exists." Takahata-san, however, insisted, "I personally experienced running from these falling, burning bombs. My sister was even injured by them." Indeed, many others have provided similar accounts. Yet, this doesn't align with objective information regarding the purpose and mechanics of incendiary bombs. ――So, Director Takahata actually experienced this? Katabuchi: The assistant director conducted thorough research with the Self-Defense Forces, confirming there's no mechanism for mid-air ignition. Considering this, which account do you believe is correct? ――I can't help but think the investigation must be right. Katabuchi: We later discovered the answer, thanks to someone who had done proper research. Interestingly, it wasn't a university researcher. It was someone driven by a desire to understand the "corners" of the world. ――Could you explain how this mechanism worked? Katabuchi: Incendiary bombs were deployed as large cluster bombs, each containing 38 smaller bomblets. The main bomb would mechanically open, releasing the 38 bomblets to fall individually. These bomblets were designed to ignite the napalm only after penetrating roof tiles. Once ignited, the napalm bags would erupt like fireworks, setting the attic ablaze. It was an incredibly dangerous weapon. ――So, the fire would start after the bomb made impact? Katabuchi: Yes, it would launch napalm fireworks into inaccessible ceiling spaces. Once the gel-like gasoline adhered to the underside of the ceiling, it would cause devastating fires that quickly consumed houses. Because of this purpose, they weren't meant to ignite mid-air; premature ignition would render them useless. However, many American bombs and incendiaries at the time were duds. Often, the parent bomb failed to disperse, leaving the bomblets clustered together. In such scenarios, there was a backup plan. If mechanical dispersion failed, explosives were reportedly included as a secondary measure to forcibly scatter the bomblets. This might have led to premature ignition of the bomblets, and such a theory has emerged. ――So, the bomb didn't behave as it should. Both the testimony and the assistant director's research were accurate. Katabuchi: Precisely. It seems many people witnessed what appeared to be an accidental event. ――And it was ordinary citizens, like us, who investigated this. Katabuchi: The individual who conducted the research even published their findings in a doujinshi (laughs). Suzu-san was even featured on the cover. ――So it was actually distributed (laughs). Katabuchi: It would be wonderful to have more individuals worldwide who are experts on various "corners" of history. People who can admit, "I may not know everything about the war, but I am knowledgeable about this specific aspect." Some are experts on the cuisine of that era, others on the clothing. ――It's like everyone contributing their part, little by little. Katabuchi: I believe this desire to delve into the details can serve as a counterbalance to forming conclusions based solely on images and emotions. Reexamining Suzu-san's "Innocence" ――In our earlier conversation, you expressed a desire to delve into Suzu-san's character, particularly how she isn't entirely innocent, as symbolized in the "Imperial Edict on Surrender" scene. Katabuchi: In the original work, Suzu-san states, "We also committed acts of violence, so we have no choice but to submit to violence." This accurately portrays the reality of Japanese society at that time, a fact I do not dispute. ――In the film, Suzu-san's dialogue was altered to reference the food she was consuming. Katabuchi: I pondered, "What should be conveyed here to truthfully depict Japan's colonial rule?" Even among the Korean audience who viewed "In This Corner of the World," there are people who said it's established during the war. However, it actually commenced in 1910, and even earlier in Taiwan. ――Indeed, this predates Suzu-san's birth. Katabuchi: Taiwan has a warmer climate than Japan, while the Korean Peninsula is colder. I encountered historical accounts detailing the struggles to cultivate rice with a taste comparable to Japanese rice in these diverse climates. We must consider who benefited from these endeavors: the consumers in Japan. Suzu-san was consuming a portion of this daily. ――And that's how she became an accomplice in the violence. Katabuchi: In this context, her involvement was more direct than mere complicity. She directly consumed that rice. While there are no scenes depicting Suzu-san committing violence against anyone, she ate rice every day, didn't she? ――Are you suggesting that the act of eating itself was a direct form of violence? Katabuchi: Precisely. The rice her mother prepared, even the "Kusunoki rice," likely included grains from Taiwan and Korea. Even on the night the war ended, they cooked and ate the remaining rationed rice, and they will continue to do so. The core message is, "We will bear this burden as we live on." I believe we need to emphasize this meaning once again. ――I thought I understood, but it seems direct violence isn't limited to attacks with weapons or physical assault. Katabuchi: That's correct. Some argue it's simply a matter of Japan's wartime food self-sufficiency rate not reaching 100%. However, during the Edo period, they managed to eat without imports. If we question why it wasn't 100% in the Showa era, it's because Japan possessed overseas colonies. ――Is it akin to thinking, "We can just outsource it"? Katabuchi: Yes, exactly. They incorporated these "outsourcing destinations" as part of their own country, but fundamentally, these were other nations. We must consider that Suzu-san consumed rice under these circumstances and thoroughly re-examine this issue. ――With ongoing conflicts worldwide, this film's screening is particularly timely, and I anticipate a strong audience response. Katabuchi: Though of course, it offers a different angle than Suzu-san's perspective. Currently, wars are raging in Ukraine, Russia, Gaza, Iran, and Israel, affecting countless lives. Suzu-san was also a civilian subjected to bombings. She mirrors the experience of those living through these conflicts. If we can see those under threat today as being akin to Suzu-san, it offers a crucial insight. ――The new promotional visual highlights the "right hand," a powerful motif in the film, symbolizing Suzu-san's loss and the many casualties of war. Katabuchi: This new visual shows "Suzu-san being caressed by the right hand." Interestingly, as the war nears its end, Suzu-san becomes defiant, declaring, "This is our fight." The hand isn't caressing that specific part of her. So, why is Suzu being caressed in this way? I hope viewers will ponder this question when they see the visual. ――And the answer to that is...? Katabuchi: (Smiling) ... ――You won't tell us? Katabuchi: That's something for each viewer to discover for themselves. ――It's a contemplation for every viewer after experiencing the film. If we had more time, I might even come up with a good answer... Katabuchi: A good answer? Come on, this isn't a quiz show (laughs). ――(Laughs) I'll take it home as homework. Thank you very much for today. [Interview: Taira / Photography: Shuntaro Nishizawa / Editing: Inari Ogawa] About "In This Corner of the World" Synopsis The unprecedented circumstances 18-year-old Suzu has to face. The story begins when, in February 1944, for better or worse, Suzu becomes a bride in Kure, a major base of the Japanese Navy at that time. This was the city where the Navy's largest battleship, the 'Yamato', was also based in. As a bride in a strange land and coming from Hiroshima City, Suzu becomes the wife of civil official Shusaku Hojo. Moving in with her new husband's kind parents, she starts her new life along her very strict sister-in-law Keiko and her sweet daughter Harumi. Along with the nice neighbors Mrs. Chita, Mrs. Kariya and Mrs. Domoto, she discovers the joys of everyday life in Kure. However, supplies become scarce gradually, forcing Suzu to make do with whatever she can for food and clothing, still being able to sometimes draw a nice picture of their daily life. One day, Suzu gets lost in the city and meets a courtesan called Rin who is somehow linked to her. On another time, she meets her old classmate Mizuhara who has become a sailor in the cruiser 'Aoba', an encounter with unexpected mixed feelings. On March 19th 1945, Kure suffers several air raids that fill up the sky, and many things that Suzu cherished are lost. However, everyday life goes on. But then, the Summer of 1945 arrives... Cast Suzu Hojo: Non Shusaku Hojo: Yoshimasa Hosoya Harumi Kuromura: Natsuki Inaba Keiko Kuromura: Minori Omi Tetsu Mizuhara: Daisuke Ono Sumi Urano: Megumi Han Rin Shiroki: Nanase Iwai Entaro Hojo: Shigeru Ushiyama San Hojo: Mayumi Shintani Juro Urano: Tsuyoshi Koyama Kiseno Urano: Masumi Tsuda Ito Morita: Hisako Kyoda Kobayashi's Uncle: Nozomu Sasaki Kobayashi's Aunt: Tomoko Shiota Chita-san: Hiromi Seta Kariya-san: Kotone Tachibana Domoto-san: Kikuyo Seya ©Fumiyo Kouno/Futabasha/Konosekai no katasumini Project ※Some parts of this text have been translated using machine translation
