Forget about the Gucci House, the big story of this year’s Oscar is Ryosuke the Gucci. The ceremony will take place in Los Angeles early next week, and the Japanese director will be present with his film “Mr. Yusuke’s Leadership,” which was honored with four nominations. Among other things, he is nominated in the category of best director and film – not a common achievement when it comes to a Japanese-speaking work. The filmmaker from the Land of the Rising Sun will probably not win these two statuettes, but is considered a favorite to pick up the award in the international film category.
In addition, “Mr. Yosuke’s Leadership” has already picked up the Cannes Film Festival Screenplay Award and the International Critics ‘Association Award at the festival, and has also been crowned by the New York and Los Angeles Critics’ Associations as Best Picture of the Year. Former President Barack Obama also placed him in first place in his annual parade.
This week, “Mr. Yosuke’s leadership” is coming up with us as well, and so we too can find out what the fuss is about. Well, based on Murakami’s writings, this drama presents the story of a Tokyo theater director who has a regular habit: working on his texts while driving. But when our protagonist travels to Hiroshima to put on a production of “Uncle Vanya,” in which each actor speaks a different language, his patrons inform him that for administrative reasons he will not be able to drive himself. They attach a driver to him, and a connection is made between the two trips and rehearsals. It turns out that both he and she experienced a family tragedy.
The result is a monumental and phenomenal work, which uses its time to touch on every possible subject: love and grief, body and words, death and creation. Above all, she asks what is perhaps the most difficult question of all – how do you deal with loss? The answer to this comes in the ending scene, which turns out to be one of the most beautiful cinematic moments of recent years.
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In a meeting with the Magucci, it is surprising to discover that behind such a complete, immense and mature work of thought, stands a neat, unassuming elf who looks 43 years younger. The conversation with him takes place after the film premieres at the New York Film Festival, and through a filter by an interpreter. My first question concerns the length and structure of the film – both are exceptional. It lasts three hours, and the opening titles come after 45 minutes.
“For me, the film has two beginnings,” he says. “Basically, the law states that the audience is at its peak of attention in the first ten minutes, so this is the time you need to build your characters and the dynamics between them. I ask the audience to do it twice. The first start, as in any movie, is in the first ten minutes, but then the credits come After 45 minutes, and they are the sign that the film starts again, and the audience is asked to respond accordingly. Regarding the length: I wanted the characters to peel like an onion, organically. I did not want to use any manipulation to speed up the process. “.
There are a lot of beautiful things in the film. One of them: even as the central relationship develops, it remains platonic.
“I do not devote too much thought to the boundaries between platonic and sexual relationships, but I have more asexual then-sexual relationships, and this is reflected in writing. I do not think sex is important, but I do think that mental connection is often deep. And stronger than a physical connection. “
It can be said that this is not only the most beautiful film of the year, but also the saddest film of the year. You agree?
“People tell me I’m making sad movies, and I’m wondering if they’re really sad. I’m actually looking for the happy ending, but I also know that life is not easy to find, so I’m going through a difficult journey, and that’s reflected in writing. “I don’t think suffering is necessary for creating art. Cinema is a fun act, but fun and suffering are part of the same package. Basically, I enjoy making films, but it’s a process that has a lot of suffering, and I ask myself why I have to suffer so much.”
Why was it important for you to include sign language between the different languages spoken in the show within the film?
“I was invited to a deaf film festival, and everyone there spoke to me in sign language. I was moved by how easy the communication was. I realized it was a language with a separate culture. When deaf people speak sign language, they also look at each other meaningfully. When they spoke to me, I felt seen. “I felt the look and the intensity of the look. I felt vulnerable. The feeling was much more open than when speaking in words, and I wanted to bring that openness to the film.”
I hope you do not think this is a superficial question, but can you ask about aesthetics? The clothes in your movies are beautiful, and so are the actors and actresses. It is also noticeable that Sonia in Chekhov’s “Uncle Vanya” declares herself “not pretty.”
“I chose the actors and actresses according to the abilities of the game. I did not ask myself if they were beautiful or not. As for the clothes – I do not understand anything in fashion. I work with a stylist. He brings ideas to the table, and I say yes or no.”
You’re been hanging out recently between festivals. I guess like the protagonist in the movie, you too have a driver. How are the conversations between you two?
“I do not have a private driver, but I do use Uber often. At least in America, many times the driver starts a conversation with me. This is something that is very characteristic of American culture.”
The movie was originally called “Drive My Car”. In our case, it will be distributed as “Mr. Yosuke’s leadership.” What do you think about the Israeli name?
“When you tell me this name and translate it literally to me, I have something else in mind than the original name. It is fascinating to me that the films have different names in different countries. I hope this name will bring an audience!”
Avner Shavit is Walla’s film critic