Japan Cuts 2024 was a richer experience than I could have ever hoped for. I already experienced the level of care and attention the programming team at Japan Society has for their repertory screenings when I covered the TAISHO ROMAN film series last year. But this was a new level of exchanged love and passion between them and the audiences who showed up to the screenings I saw at Japan Cuts.
In this episode my good friend Lori Navarro goes on a deep dive with me on what our gateways to Japanese media were, and where we’re at now down our own rabbit holes in Japanese cinema. Plus a segment on our reactions to watching the final screening of Japan Cuts together— SHIN GODZILLA: ORTHOCHROMATIC.
My first night at Japan Cuts was for the ultra rare imported 35mm screening of AUGUST IN THE WATER. The only 35mm offering at Japan Cuts. I was a little shocked at how much the audience was abuzz for this movie. I went in blind, not knowing anything about the film or the filmmaker. Film Programmer and guest of the show Nico Pedrero-Setzer pulled up a few seats next to me which was a great surprise since we didn’t get to meet in-person until that night. Director Gakuryu Ishii gave a warm introduction to the screening which you can listen to here:
I felt the chill of a good omen when Director Ishii said that the festival depicted in the film AUGUST IN THE WATER was climaxing in Japan on that very same night.
Back in episode #016, Japan Society Film Programer ALEXANDER FEE said it was extremely difficult navigating the rights to the film in order to acquire the 35mm print for this screening. It was a 2019 reprint so it looked great! Alexander is convinced it may never be screened again in the US.
This is no doubt a vibes movie. You have to surrender yourself to it in order to tap into the spiritual nature and message it hopes to communicate to audiences. For me, it’s the type of film I need to let digest over time and through another watch at home. Preferably in a situation where I can show it to people who have never seen it. It felt like a hidden screen gem that I’m so grateful for Japan Society bringing to NYC for a one night only screening. I was part of an audience of die hard fans. Many who traveled from out=of-state to see the film. I scoured Letterboxd for the folks who were in my audience and there were some deeply emotional love letters poured onto their reviews.
Here’s what I captured from the talkback with Director Ishii, moderated by Alexander Fee, and interpreted by Tomoko Takedani Sater:
The East Coast Premiere of the new 4K restoration (thanks to Cinema Guild) for Shinji Sōmai’s MOVING (1993) screened for another sold out crowd at Japan Cuts. The film’s star, Tomoko Tabata, introduced the film, watched it with the audience (her first time seeing it again in 20 years), and stayed afterwards for a talkback with Alexander Fee.
I was left shattered by this movie. I did not expect to be seated for what might be the best depiction of a family divorce and a bittersweet coming-of-age story that left me in tears! I could hear dozens of people in the audience sniffling throughout the last 20 minutes of the movie. Gorgeous 4K restoration. I’m so happy this movie is getting a second chance (30 years later) at reaching more audiences now that it’s screening in North American for the first time ever. In NYC, you can expect to find showtimes for it at Metrograph and the Film at Lincoln Center.
It was surreal to watch Tomoko Tabata as a child in the movie then immediately after see her again all grown up in-person. She was wiping away tears for the entirety of her talkback. She had not seen the movie on the big screen since the premiere in Japan 30 years ago. Here’s what I captured from the Q&A with Tomoko Tabata, moderated by Alexander Fee, and interpreted by Tomoko Takedani Sater:
This year I saw the original GODZILLA at Film Forum for the first time ever and now I had the opportunity to see SHIN GODZILLA: ORTHOCHROMATIC on the big screen, too. I’m so happy to have honored Godzilla in this way for our big boy’s 70th anniversary. Lori and I brought our families to the final screening at Japan Cuts which made it extra special. Listen to the podcast for more of our thoughts on this movie!
After years of hearing about Japan Cuts, I’m so thrilled I got to experience it and cover it here on Marquee Mixtape. See for yourself what the hype is all about when it’s back again at Japan Society next year!
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Credits: Produced by Alec Rodriguez, original artwork by Cristina Montes, original music by Jeremy Bullen.
NEXT: Bonus episode with Japanese-English interpreter at Japan Cuts — Tomoko Takedani Sater!
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