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On the afternoon of June 21, the 26th 赌博app hosted a meet-and-greet for the Golden Goblet Awards Main Competition Film, LIVING IN TWO WORLDS (2024). Returning to the festival after nine years, director Mipo O and lead actor Ryo Yoshizawa shared the journey of their creation behind the film.
Living Between "Silence" and "Sound": A CODA's Dual Reality
LIVING IN TWO WORLDS (2024) follows the life of a CODA (Child of Deaf Adults), a hearing child raised by deaf parents in a small port town in Miyagi Prefecture. The protagonist, Dai, grows up interpreting for his loving parents, constantly shuttling between the worlds of sound and silence that define his existence.
Director Mipo O expressed during the discussion that being unable to hear should not only be seen as a disability or limitation. Sign language, their means of communication, is as valid as spoken Japanese or any other spoken language. She emphasized that the hearing world could benefit from understanding more about the deaf community without pity or condescension.
The film's auditory and visual design brilliantly captures the essence of living between two worlds, as depicted in LIVING IN TWO WORLDS (2024). It begins in silence, with the father painting a boat, and the repetitive motions are quiet and profound. Suddenly, sounds intrude, pulling the audience into the hearing world. In the final minute, as the protagonist watches his partner's mother walk away, the soundtrack is muted, leading back into silence. This powerful shift from sound to silence beautifully mirrors the film's title, encapsulating the protagonist's dual existence.
From "Performance" to "Reenactment": The Rigors and Commitments
LIVING IN TWO WORLDS (2024) opts for a design that is subdued and closely mirrors real life. Director Mipo O noted that during filming, there often were discrepancies between the designed scenes and their actual execution. Adjustments would be made to the actors' lines and timing based on the script to enhance naturalism. Ryo Yoshizawa mentioned that the director prioritized natural portrayals over acting, focusing on genuine emotional responses to recreate life's scenes authentically. However, the unique requirement for Yoshizawa's character to extensively use sign language meant that he had to eschew a performative approach, which was challenging.
Yoshizawa explained, "I had to not only memorize the sign language dialogue and display fluency but also understand the meaning behind others' signs to respond appropriately with my expressions, making the signed conversations credible and convincing." To prepare, Yoshizawa began learning sign language two months before filming. The director commended him, saying, "Mr. Yoshizawa is very talented; he reached a native level in sign language."
However, the process was far from simple. Firstly, the sign language used by deaf individuals differs from that used by CODAs, and the sign language system is complex. Additionally, sign language conversations among deaf people require eye contact, and facial expressions play a crucial role in the language. For example, the shift in meaning from the statement "It's okay" to the question "Are you okay?" is often achieved by adding an expression.
Ultimately, under the meticulous guidance of a team of sign language instructors, Yoshizawa dedicated himself to practicing and managed to complete the high-quality filming in a remarkably short time.