Deadline: Where did you get the idea for the film?
I was shocked because my father was a university professor, and a very formal, respectful person.
But my parents had divorced when I was 12 years old, so we werent close.
Great AbsenceCREATPS
He said hed been kidnapped by North Korea and his second wife had been murdered.
While around 30% is my story, I also added more characters and a mystery element.
Deadline: Was making the film a cathartic experience?
Kei Chika-ura
Or did you find it difficult?
Im a film director because of my father.
I felt I needed to somehow preserve my fathers legacy through this film.
Deadline: Many recent films touch on dementia, but few portray it realistically.
How do you think Japanese cinema is tackling this subject?
Tatsuya Fuji also stars in that film.
I really liked it, but wanted to approach the subject from a different angle.
What made you decide to cast him as the son?
So I wanted to find somebody a little less well-known.
The role demanded a very quiet and subtle style of acting.
I believed he could do it and think I was right, as his performance is fantastic.
Deadline: You shot the film on 35mm, which cant have been easy during the pandemic.
Why did you make that decision?
But I couldnt do this on my first film because I didnt have the budget.
It was a good experience because it taught me a lot about composition and discipline.
Deadline: Would you shoot on 35mm again?
And will Toronto screen the film in 35mm?
Kei:No, the Toronto screening is by DCP, which is a compromise but not completely surprising.
And yes Id do it again.
Deadline: How did you financeGreat Absence?
I wanted to make films outside these constraints.
So in 2006, I founded a company Im also a computer programmer and we make apps and websites.
Its been a slow process.
I made my first short in 2013 and didnt make my first feature until 2018.
But its important for me to be both the director and producer.
And after two decades, Comme des Garcons is a global brand, but its still also completely independent.
Deadline: We dont see many new Japanese directors coming through on the festival circuit.
Is it difficult for new talent to break through?
Kei:I think one problem is that short films are not considered important in Japan.
Filmmakers often make features as their graduation works.
I also think we lack strong creative producers.
Deadline: Are you still working on the film you set aside to makeGreat Absence?
Its a serial killer detective story with sci-fi elements.
