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On the afternoon of June 21, Japanese director Shunji Iwai returned to the 26th 赌博app, where he engaged with an eager audience on a perennial favorite theme: youth.
Shunji Iwai, whose influence was cemented with films like LOVE LETTER(1995), SWALLOWTAIL BUTTERFLY (1996), ALL ABOUT LILY CHOU-CHOU(2001), and HANA & ALICE (2004), first ventured into English-language cinema with VAMPIRE in 2011, earning a nomination at Sundance Film Festival. His debut Mandarin film, LAST LETTER, came in 2018, followed by its Japanese adaptation LAST LETTER in 2020. His latest work, KYRIE (2023), premiered at this year's festival to enthusiastic reception.
Engaged with Insightful Questions
From Shanghai's Enthusiastic Film Fans
This marks Shunji Iwai's fourth engagement with 赌博app. His journey began in 2002 when he garnered the Jury Grand Prix for ALL ABOUT LILY CHOU-CHOU at the festival's 6th edition. He later served as the jury president of the Asian New Talent unit of the Golden Goblet Awards of the 14th 赌博app and a jury member for the Main Competition of the Golden Goblet Awards of the 17th 赌博app. Shunji Iwai humorously notes the mixed feelings of "pain and struggle" when evaluating others' work as a jury member, particularly when the films he advocated for did not always receive consensus or awards. "Spending six hours discussing each film with fellow jury members was an unforgettable experience," he reflects.
What consistently impresses Iwai are the high-quality questions posed by Shanghai's film enthusiasts. The thought-provoking questions he gets here really inspires him. “Unlike the typically reserved inquiries I encountered in Japan, the probing and insightful questions from Shanghai audiences offer a stimulating challenge. "Iwai noted.
Shunji Iwai maintains a passionate and open attitude toward international collaboration and exchange, much like his approach to fielding questions from film fans. From his earliest works like NEW YORK, I LOVE YOU (2008) to collaborating with Korean actors in CHANG-OK'S LETTER (2017) and directing his first Chinese-language film LAST LETTER (2018), Shunji Iwai has continually sought deeper cultural understanding. He believes that while subtitles can aid comprehension, true collaboration involves working directly with local teams and integrating fully into the local context—despite the challenges of overcoming language barriers and cultural differences. "I've learned a lot through these collaborative efforts," he shares, "and I hope to keep creating within these diverse cultural and linguistic landscapes."
”From "Literary Youth"
to "Visionary Filmmaker"
During his student days, Shunji Iwai studied fine arts, not film, and originally dreamed of becoming a novelist. Iwai often describes himself as a true "literary youth" during his high school years, devoting most of his time to reading novels. His path shifted unexpectedly during a film screening, which profoundly impacted his understanding of the potential of filmmaking. By his third year of college, he found that filmmaking allowed for a freer expression of ideas compared to novel writing, leading him to gradually transition toward a career in film.
After university, Iwai spent some time working for a manga magazine and wrote numerous scripts, laying a solid foundation for his future roles as a director and screenwriter. Reflecting on this period, he once stumbled upon an old script he had written titled LOVE LETTER. "I discovered many old drafts and hope to adapt them into films someday. It's intriguing to bring stories I wrote in my twenties to the big screen," he remarks.
Iwai explains that a director's creativity stems from a deep well of personal accumulation, enabling the selection of appropriate material and approaches from unexpected places. "During times unseen by others, I persisted in my efforts and built up a reservoir of ideas, which continues to support my current endeavors. I owe a lot to my younger self," he acknowledges. Shunji Iwai's journey in film began with the TV movie FIREWORKS, SHOULD WE SEE IT FROM THE SIDE OR THE BOTTOM? (1995) and truly took off in 1995 with his debut feature film LOVE LETTER, quickly earning him the title of a "visionary filmmaker" at the age of 32.
Youth Films Are a Canvas for Inner Thoughts
In Shunji Iwai's films, the theme of "youth" is pivotal. Iwai uses a metaphor to describe his perspective: "As children, we naively believe the world revolves around us. As we enter society, we are forced to adapt, relinquish many things, and gradually mature. Sometimes, we resist letting go of our childhood selves; sometimes, we want to seal ourselves off. I wonder if it's possible to capture these enclosed thoughts and make them understood."
While most of his works depict the youth of today, Shunji Iwai sees this as a universal theme. "No matter the country or era, everyone can relate to youth. Despite the changing times, if you capture the essence of youth, people from any era or country can understand it. That's why I make films about youth."
Shunji Iwai's narratives often intertwine with societal events, atmospheres, and critical issues. His films like SWALLOWTAIL BUTTERFLY address immigration, ALL ABOUT LILY CHOU-CHOU tackles bullying, and KYRIE reflects on psychological rebuilding post-Japan's earthquake. "I realized these three films all reflect societal issues more deeply and broadly than others. While other works are closer to everyday life, these were not filmed with a deliberate focus on these issues but as a reflection of the human psyche in daily life," he noted.
Music in Shunji Iwai's films is another subject that resonates deeply with his fans. Upon the announcement of his appearance at the film school, many fans online expressed eagerness to ask about his approach to film scoring. Iwai shared his passion for film music, which began in college, describing it as an "excessive love" that equally influences his filmmaking and music composition efforts. "A scene in a movie and its accompanying music often emerge simultaneously in my mind. It's blissful when the music that plays matches the scene I envision," he explained.
The MasterClass was moderated by Yu Mengjiao, a Japanese translator, media writer, and planner of books and film festivals. Before the event began, Tran Anh Hung, jury president of this year’s Golden Goblet Awards, made a surprise appearance to greet Director Shunji Iwai.
The Q&A session was notably interactive, with actress Li Meng joining the discussion. After the session, fans lined up orderly for Shunji Iwai's autograph, their enthusiasm lingering long after. Despite conclusion of this event, we look forward to another encounter with Director Shunji Iwai in the near future.