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New Straits Times
18-05-2025
- Entertainment
- New Straits Times
Behind the award-winning Asian film that took a decade to make
IT took writer-director Janus Victoria 11 years to make Diamonds in the Sand, a beautiful, tender film about Yoji, an isolated Japanese man who escapes to the vibrant Philippine capital Manila in an attempt to avoid what in Japan is known as a kodokushi (lonely death). The filmmaker's commitment is already reaping rewards, with the film receiving the White Mulberry Award for "First Time Director" after making its international premiere at the recent 27th Far East Film Festival (FEFF), in Udine, northern Italy. Diamonds in the Sand has brought together filmmaking forces from across Asia — from its Filipino director (Victoria), to its Japanese star (Lily Franky), to its Malaysian producer (Lorna Tee) and on to production support from the Philippines (CMB Film Services) and Japan (IS Field). It seemed that no amount of challenges — whether before or during filming — could stand in the way of this film being made. That unshakable determination was clear when I managed to catch Victoria on the sidelines of FEFF. Though she had lost her voice somewhere along her journey to Italy, the talented director pressed on undeterred. In a soft, raspy whisper, she sums up her resilience with a simple truth: "If there's a will, there's a way." It's a line that feels like the very heartbeat of her long, often arduous journey in bringing this story to life. For Victoria, Diamonds in the Sand was never just a film project — it was a deeply personal labour of love that has been years in the making. Her first encounter with the word kodokushi came in 2013, and its haunting meaning struck a chord. It spoke of a quiet, devastating tragedy: people so forgotten by the world that their passing goes unnoticed until their bodies begin to decay. That image stayed with her, quietly shaping what would one day become this film. With a strong background in documentary filmmaking — her Encounters with Silence winning the Best Short Documentary Award at the Japan Los Angeles Film Festival in 2019 — Victoria was committed to exploring the truth behind this phenomenon. She applied for a residency in Japan and boldly followed real-life cleaners into the homes of the deceased, watching them scrub body parts off the floors, sorting the traces left behind. While not every filmmaker has the stomach for that kind of thing, it was her way of understanding — through compassion — how these people lived, how they died, and the society that allowed them to be forgotten. It was an experience that turned Victoria's thoughts back to her own country. "In the Philippines, we don't have kodokushi," she shares, adding softly: "But it's through learning what happens in Japan that I now have a better understanding of what kind of society the Filipinos have. It may look fun because we're always together, but there are a lot of other problems." That reflection became the seed of her script — and it drove her forward. One of the most compelling elements of Diamonds in the Sand is its star Lily Franky's poignant performance. When the star of such hits like Hirokazu Koreeda's Oscar-nominated Shoplifters (2018) was asked why he joined a project led by a young, non-Japanese director, Franky said by simply reading the script, he could feel how much time, research and passion Victoria had poured into it. Living in Japan, Franky was already familiar with the notion of kodokushi. But when he learnt that Victoria had spent time observing real-life cleaners to understand the subject matter firsthand, he was moved. For him, that level of commitment was enough to earn his trust — regardless of her nationality or experience. "And also, it's because her voice is really cute," he exclaims with a chuckle, when met at FEFF. Despite working with a seasoned actor like Franky, Victoria didn't let herself be intimidated. She understood how rare and precious the opportunity to make a film was. Smiling, she shares: "So I just ignored my fear and feelings of intimidation." Rather than trying to direct Franky in a conventional sense, Victoria approached him as a friend, sharing her thoughts and insights. She trusted that he could use them to build his own character, that he would understand what was needed. SPECIAL QUALITY That spirit of collaboration extended beyond the director-actor dynamic. Franky was equally impressed by the Filipino crew. Despite the long, exhausting hours — enough to make most young staff want to give up — he saw a team who took pride in their work. Their devotion, he noted, was fuelled by Victoria's own commitment and fearless energy. "I've worked with many filmmakers, but Victoria had a very special quality," shares Tee, before adding admiringly: "She doesn't give up. She's very persistent, even when there are a lot of setbacks, disappointments and discouragement." Continuing, she says: "She didn't let it break her down, but she continued to try different things, and the rest of us followed that kind of energy and passion towards how she wanted to see this through." Victoria pointed out that the support went both ways — her crew never gave up on her, either. That, she confides, was what kept her going: knowing people stood by her throughout everything. She speaks glowingly about Akiko Ashizawa, the legendary Japanese cinematographer who worked the cameras for Diamonds in the Sand. Ashizawa didn't just compose the film's most beautiful images, but she also became, as Victoria puts it, "a guardian angel" to the whole production. Ashizawa constantly reassured the director, " Ganbatte. This can be done!" — using the Japanese phrase for "do your best". It's also a key line spoken by the character of Yoji in the film. Together, the two women spent hours travelling on trains across Manila every day. They were not just searching for the perfect locations, but also to understand the soul of the city where their film unfolds. SENSE OF UNITY With Diamonds in the Sand bringing together talents from Japan, the Philippines and Malaysia, one might imagine a set filled with language barriers, cultural clashes and the occasional bout of creative chaos. But in reality, it was anything but. Under Victoria's steady, clear-eyed direction, the production remained focused, disciplined and surprisingly harmonious — though, of course, there was room for the occasional light-hearted moment. Working with a modest budget of just US$800,000, Victoria understood that she couldn't afford missteps. She approached each day on set with precise preparation, knowing exactly what needed to be done. "I never go into a film set without a plan," she shares, adding: "Because every minute wasted costs my crew time and energy." Producer Tee puts it best when she explains that what truly held the production together wasn't just careful planning, but also a shared vision. While the team spoke different languages, both literally and culturally, they were all driven by the same purpose — and that, in the end, became the language everyone understood. Fittingly, for a film that explores the quiet ache of solitude, it was built on the powerful unity of those behind the camera. When asked about the challenges behind the film, Victoria shared that money was never the biggest obstacle. What truly mattered was that Diamonds in the Sand didn't follow a conventional formula that could be easily replicated. It came from a deeply personal place. And to do it justice, she needed to be ready herself. The 11-year journey wasn't just about making a film; it was about growing into the person and filmmaker capable of telling this story. "It's about maturity," she explains, adding: "…and not just the maturity in my skills. It's about understanding people. You can't make decisions for your characters or actors if you don't understand the emotions they're going through." Passionately, she continues: "And you can't do that if you haven't lived. That was why I needed time to grow — especially when the topic I tackled is about dying alone. "Sure, it's a 'sexy' topic. It would have been very easy to just turn it into a gruesome situation." Both Victoria and Tee concurred that the subject needed to be approached with compassion and genuine empathy, just like the message Diamonds in the Sand seeks to convey. So, the team made the conscious decision not to rush. And in time, things eventually aligned. They found Franky at just the right moment — something that might not have happened had they pushed forward five years earlier. In that sense, their patience was rewarded. In today's fast-moving industry, it is rare to see filmmakers like Victoria and her crew, who nurture their work with such care and perseverance — somewhat like tending to a tree, letting it grow strong and true, no matter how long it takes or what it takes. As an audience member, I'm excited to see what this talented director's next step will be. Regardless, I'm assured that she would embrace the spirit of ganbatte and do it with her whole heart and dedication.
Yahoo
05-05-2025
- Entertainment
- Yahoo
"The Last Dance" won two accolades at Far East Film Festival
5 May - "The Last Dance" might have lost Best Picture at its home turf, but continued to gain new victories internationally, with the latest being the Far East Film Festival (FEFF) in Udine, Italy. The film was awarded the FEFF's Silver Mulberry Audience Award as well as the FEFF Black Dragon critics honour, becoming the only Hong Kong film to win at the festival. Director Anselm Chan expressed, "Thank you to the audience and professional judges of the Udine Far East Film Festival for their love and recognition. I am grateful that this magical journey of 'The Last Dance' has collected another beautiful memory." Lead actress Michelle Wai, who won Best Actress at the Hong Kong Film Awards (HKFA) recently, expressed her elation as well, saying, "Thank you to the local audience for their love, which has allowed the film to go further." It is noted that "The Last Dance" won five accolades at the recently held HKFA. However, it lost the Best Picture category to "Twilight of the Warriors: Walled In". (Photo Source: Anselm Chan IG)
Yahoo
25-04-2025
- Entertainment
- Yahoo
‘Green Wave' Helmer Xu Lei Talks Chinese Film Funding And Directing His Father In The Comedy-Drama
After sweeping the Best Actor and Jury awards at China's Pingyao International Film Festival, writer-director Xu Lei's quirky comedy-drama Green Wave arrived as the opening film at the Far East Film Festival (FEFF) on Thursday in Udine, Italy. Drawing laughter from the crowd of more than 1,200 people at the film's international premiere in the Teatro Nuovo Giovanni, Xu tells Deadline that he did not intend to write a comedy at first, but humor gradually found its way into the story. More from Deadline 'Bullet Train Explosion' Director Shinji Higuchi Talks Casting Singer-Actor Tsuyoshi Kusanagi & The Film's Moral Questions Shudder Acquires Historical Horror 'Orang Ikan' Netflix APAC Film Viewership Grew 20% In 2024 - APAC Showcase 'At the beginning, it wasn't meant to be a comedy, it was just meant to be a family drama about the father and son,' says Xu. 'However, as the story evolved during the production, it gradually turned into a comedy. As a filmmaker, I always appreciate the opportunity to grow in making your own movie. You find out more about yourself while making a film.' Xu adds that it will be far more challenging to fund a film like Green Wave in China today, compared to the domestic funding landscape a few years ago. 'When I started the project and looked for investors two to three years ago, it was a good time in China's movie market. But if I had to make this movie now, I would probably not have the same outcome,' says Xu. 'It's because fighting for audiences to take the time to go inside the cinema is even more competitive now, compared to three years ago. Now they have TikTok, streaming and games. In order to lure the audiences to go inside the theater, it's not as easy as before, so investors hesitate before they give the money to make a movie.' Xu says that he has completed the screenplay for his next film, titled The Peacemaker, and is currently putting together funding for the film. The Peacemaker is set in a rural village and revolves around a person who assumes the role of a local 'godfather' for the village, helping to arbitrate for the villagers, and settling their struggles and disputes. Xu previously directed Summer Detective (2019) and co-directed Hutong Cowboy with veteran filmmaker Ning Hao. Green Wave revolves around Wei Fei, a screenwriter who lives in Beijing. His recently-widowed father, Lao Wei, who lives further away in a village, finds a seemingly antique porcelain bowl while his ancestral home is being demolished. Father and son live under the same roof again, as Lao Wei arrives in Beijing to have the bowl evaluated by experts, in the hopes of making a windfall. Xu cast his real-life father, Xu Chaoying, in the role of Lao Wei — marking the second time that his father has appeared in his films. 'When writing the script, I did not initially intend to cast my father. But through the casting process, I looked around and felt like my father would be very believable and convincing in this role, so I ended up choosing him.' It seems like a move that has paid off, with the elder Xu picking up the Best Actor prize at the Pingyao fest. Elaborating on what it was like to direct his father, Xu said: 'This is the second time working with my father, so the easiest part is that I know his capacity, how much he can perform and what he can do.' Xu said that he spent some time working with refining the accents of the actors in the film, including Wang Chuanjun (who plays the son) to match the accents of the onscreen duo, as Wang is not from the same province as Xu's family. The inspiration behind the film's plot came from a friend's story. 'I have a friend who has a disability, and his father is an antique collector. All his life, he wants to find something authentic that will make him super rich, so that he can secure financial independence for his son,' says Xu. 'My friend and I both knew that his father's collection is all fake — none of them are real antiques, but he appreciates the affection and thought behind what the father is trying to do, which is real and genuine.' Best of Deadline Everything We Know About Netflix's 'The Thursday Murder Club' So Far TV Show Book Adaptations Arriving In 2025 So Far Which Colleen Hoover Books Are Becoming Movies? 'Verity,' 'Reminders Of Him' & 'Regretting You' Will Join 'It Ends With Us'
