Interview with Yukihiro Morigaki: I believe women are the center of the world

We speak with Yukihiro Morigaki about "Goodbye Grandpa", the concept of family, the problems youth face in the country, priests, the Japanese movie industry and other topics.

Morigaki Yukihiro was born in Hiroshima, Japan, in 1983 and started making documentaries while at university. He is a well-known commercials and TV drama director who has won awards at Cannes Lions and ACC CM Festival and his short film Clockwork Couple won the best film of the 2014 FOX Movie Premiere Short Film Festival.

On the occasion of his debut feature film, "Goodbye Grandpa" screening at Vesoul International Film Festival of Asian cinema, we speak with him about the film, the concept of family, the problems youth face in the country, priests, the Japanese movie industry and other topics.

Apart from films, you also direct commercials, TV dramas and documentaries. How have these capacities shaped your style as a filmmaker?

My curiosity is never satisfied until I get to know what I am interested in, so I learned and experienced many ways of movie expressions.  As a film maker, I think those experiences are really becoming my strength.  In TV commercial industry Japan, you can experience the latest technologies and techniques of shooting, lighting, and CG graphics, etc.  Most of the time, there are strict time limitations on a shooting schedule due to the actors' very busy schedule, so we require instant judgement and quick direction.  That trained me very well that I can now direct a TV series which needs to be quickly shot, like a TV commercial (well, in Japan, it's like that).

In documentary film, the most important thing is how much you can express reality in a film.  That is all what I think about while I make documentaries, and that made me able to feel people's real voice, overview the society and figure out problems.  All those experiences are helping me as a film maker.

Family dramas seem to be one of the most common genres in Japanese cinema. Why is that?

Well, I think that is not happening just in Japan but world widely.  In my opinion, that is because every single one of us are naturally unable to escape from the strains of family.  So eventually, the theme is the most common in all of us, and there must be inexpressive, deep feelings which are different in each of us.  The shape of "Family" is very interesting, because it changes as time period goes, but also doesn't change in any time era.  We can still discover new issues in the union which we call family, and I think that is why many of films are about family.

The young people in the film, and particularly Yohei and Yoshiko, seem troubled about their identity, their relationship with their parents and their future. How common is that in Japan?

When I was in my 20s, I remember I was like them, wondering and worrying about that kind of things.  The scriptwriter Sahoko Yamazaki, who wrote this movie is the same age as me so I could sympathise with those characters very easily.  I see young people nowadays are taking those issues more seriously than we used to.  I think that's because it feels like the weight of rules of the society is becoming lighter and lighter, like a trend in my opinion, for example parents divorce, it is "not a big deal" as it was anymore, it happens often everywhere.

Yoshiko feels guilty about having sex while her grandfather died. Can you elaborate on this concept?

I did not direct the sex scene as a significant thing that caused Yoshiko's feeling of guilt.  We feel guilt when someone whom you care for, dies while we are having pleasure moment, which can be anything such as eating delicious food or etc.  In the story, it was sex for Yoshiko.  I wanted to show her feeling of guilt as a feeling that everybody would feel when a caring person dies.  And the fact that she feels guilt by having pleasure moment when her grandpa dies shows young people's poor experience of death.  This is the first death that Yoshiko had to deal with, and this feeling vanishes as she gets older because she eventually will experience funerals repeatedly.  We grow up and admit death as a part of our life, in that process.  Yoshiko and her boyfriend have sex again in the middle of the story.  This scene is very important because it shows she got over death and grew up.

Kaoru faces prejudice for not getting married and not having children. Is this something that happens frequently in Japanese society?

In Japanese society, I feel single women at her age are still biased.  However, I believe women are the center of the world.  I wish them to be more active in our society so I included Kaoru's character in the film to encourage women like her.  I know many of my friends who are like her, actually.  Kaoru's problems are existential, because we live in a society where women can work hard like men.  A lot of women work very hard and earn enough money to live by themselves comfortably, but at one point, they realize they have turned 40 already.  And they start to think it's not worth to force themselves to spend time with someone they don't love.  I feel many of those women do not marry, despite the fact that the idea of having a baby still lingers somewhere in their mind.

Single middle aged men are even becoming targets of bias in Japanese society now days.  As time goes by, I believe there will be less problems like this, but there will be other issues that will pop up, such as declining birthrate and dying alone, etc.

The film seems to portray the priest as individuals that care too much about money. Is that your opinion about them?

Of course I know there are wonderful priests in the world, but the priests in the story are σηαπεδbased on my mother's experience.  When her sibling died, what they did was show her funeral plans and costs.  The image of the priest driving an expensive car is from a TV show that I watched, which was about the life of a  famous Japanese priest and I remember she was driving a really nice big car.  Also, I remembered when I was a child, I was very curious about the job, and wondered if  priests are public servants?  Are they self employed?  Is this a job someone can make money by praying?  All of those thoughts shaped the way the priests behave in the story.

The aging population of Japan and particularly elderly senility is a recurring theme in the country's cinema. Is the problem so significant?

I think it's very important.  By considering the problems of aging population and their care, we question how a "family" should be.  Is this a cause for a family to collapse?  Or is this something that brings the family together more tighly?  I think we cannot separate this issue from the theme of family.

Despite the fact that the film deals with serious issues, you retain a light-humoristic style throughout. Why did you choose this approach?

I think there are no right ways in movies.  I even think I haven't understand what a movie is yet.  So I believe making a film is the same as invention.  Inventing 0 to 1 is the hardest part, but I always search for new ways to direct or something that no one has done yet.  Because of the seriousness of the theme of social problems, the tone of a story will be gloomy eventually.  But I realized not many of films based on this kind of story are shot humorously, and I took advantage of that.  I thought by showing this kind of social problems humorously, I could draw the attention of people who do not care about that kind of stuff and make them think about it.   And another thing is, my approach on the theme of life and death is not as heavy as people think it is supposed to be.  Death is a part of our life for me, so I want the audience to understand that by directing Yoshiko and her family humorously and ironically a bit is as how normal life is like to be.

Can you tell us a bit about the casting process for the film? Was it difficult coordinating all these actors? How did the cooperation with Miki Mizuno came about?

Casting process was very hard...I approached the casting as a puzzle, like if this character is the mother, then that character should be her daughter and that character her son and so on.   I wanted to retain reality in the film so I simulated scenes by imagining existing actors and actresses in my head over and over.  In that process I figured if the sister of Mr. Iwamatsu and Mr. Mitsuishi was Mrs. Mizuno it would be funny somehow and would fit to the script.  I believe it succeeded , I want to thank all of them.  If even one of them wasn't able to be cast in the film, I was thinking of redoing all the puzzle from the beginning. 

Can you tell us about the location the film was shot? Any memorable episodes during the shooting, good or bad?

Good episode first.  We shot this film in Kumamoto, Hitoyoshi town, a very peaceful country place.  There were many rivers in the town too.  People in town were very cheerful for my film, I wouldn't be able to complete it without their cooperation.  They served Bento with my name on the case, they served B.B.Q. on the day off for all of my staff.  It was very fun and I can't forget about it.

I can't think of bad episodes though, if I have to say one, the heat of summer in Kumamoto was really terrible.  When we were shooting in the field, the cameraman got sick because of the heat and had to stop shooting for a while, so we all took a nap together.  Well, that is a good memory now.

What is your opinion about Japanese cinema at the moment?

I'm afraid to say this but I feel that it is hard to try and make new things in Japanese movie industry today.  Japanese novels or manga from bookstores are more likely to be made into movies.  If you think about the business model, it is understandable; if you make a movie out of a novel or a manga that are already famous then you basically don't need so much money for advertisement.  However, if you look at the past, not all the great movies were made like that.  There are many great scenario writers who can write original stories for the big screen but sadly, it seems their work is valued very little.  A movie becomes a movie when there are people who watch it, I understand that, but is it really all about the number of the spectators?  I am struggling with these thoughts.  Poor payment to film makers and staff is another big problem in this industry.  (Not all of the cases, but most of the time.)

Through this movie, I had a chance to get to know French and Korean movie companies.  By talking to them, I realized there is a big difference between Japan and their country.  These countries tax movies to protect the industry.  I was jealous, honestly. 

I hope more original movies will be made and distributed to movie theatres, so people get to see them, as it was before.  I mean not all the movies based on books are bad, because they are not, I'm just thinking it's amazing if film makers have their back so they can try art films or original films more often and freely.  I believe that, in this way, Japanese movie culture will be cultivated profoundly.  But I also think there are more serious problems than introducing movie tax in Japanese society.  It is just my opinion so I don't think I am right, but I'm hoping so. 

Which are your favorite filmmakers/movies?

I like every movie and directors who made my heart shiver.  So here is a long list...
Akira Kurosawa "Dodesu'ka-den"
Yasujiro Ozu "Tokyo Story"
Juzo Itami  "The Funeral"  "A Taxing Woman"
Jean-Jacques Beineix  "Betty Blue"
Alejandro González Iñárritu  "The Revenant"
Xavier Dolan  "Laurance Anyways"
Hirokazu Koreeda  "Nobady Knows"
Shunji Iwai  "Swallowtail"
Isao Yukisada  "Sunflower"  "Rock'n'Roll Mishin"
Wong Kar-wai  "Chungking Express"
Hou Hsiao-Hsien  "Three Times"
Park Chan-wook   "Oldboy"  "The Handmaiden"
Takeshi Kitano  "Kids Return"
Yuya Ishii  "Sawako Decides"  "The Great Passage"



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Jigme,1,Kfc,2,Khavn,2,Khosla Ka Ghosla!,1,Khushboo Ranka,1,Khyentse Norbu,2,Kill me,1,Killing Beauty,1,Kim Bong-han,1,Kim Eun-hee,1,Kim Hong-seon,1,Kim Hong-Sun,1,Kim Hyun-seok,1,Kim Jee-woon,4,Kim Jong-Kwan,1,Kim Joo-hwan,1,Kim Ki-duk,5,Kim Kih-hoon,1,Kim Min-suk,1,Kim Seong-hoon,1,Kim Tae-kyeong,1,Kim Whee,1,Kim Yong-hwa,1,King Hu,1,Kingyo,2,Kirsten Tan,1,Kirti Raj Singh,1,Kiss me,1,Kiyoshi Kurosawa,4,Kôbun Shizuno,1,Kodoku Meatball Machine,1,Koji Fukada,1,Koji Wakamatsu,1,Kon Ichikawa,2,Konkona Sen Sharma,1,Konrad Aderer,2,Korea,1,korean drama,1,Kotoko,1,Kristina Aschenbrennerova,1,Krzysztof Pietrzak,1,Kun-Yu Lai,14,Kung Fu Yoga,1,Kwak Kyung-taek,2,Kyoko Miyake,2,Kyriacos Kyriacou,3,Labour of Love,1,Lady of the Lake,1,Lady Snowblood,2,Lam Wingsum,1,Laos,3,Laughing Under the Clouds,1,Lawrence Ah Mon,1,Le Binh Giang,2,Le Bình Giang,2,Leandro E. 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Johnson,1,Matthias Hoene,1,Maundy Thursday,1,Mayaanadhi,1,Mayurakshi,1,Meghe Dhaka Tara,1,Memoir of a Murderer,1,Merantau,1,Mermaid,1,Miaoyan Zhang,1,Michael Haertlein,1,Michelle Hung Tsz-ching,2,Midi Z,1,Midnight Runners,1,Midori Impuls,4,Midori The Camelia Girl,1,Mikhail Red,4,Milk the Maid,1,Minamata: The Victims and Their World,1,Ming-Yeh Rawnsley,1,Minoru Kunizawa,1,Mira Nair,1,Miss Zombie,1,Miwa Nishikawa,2,Mohammad Rasoulof,1,Mohammad-Reza Lotfi,1,Mon Mon Mon Monsters,1,Mong-Hong Chung,2,Mongolia,2,Monika S-r,1,Monologue,1,Moon Lovers,1,Mototsugu Watanabe,4,Mouly Surya,3,Mountains May Depart,2,Mourning Forest,1,Movie,2,Moving,1,Mr. Socrates,1,Mrs Fang,1,Mrs K,2,Mukti Bhawan (Hotel Salvation),1,Mumon: The Land of Stealth,1,Museum,1,My Beloved Yak,1,My Dad and Mr Ito,1,My Heart is that Eternal Rose,1,My Hero Chihiro,1,Myanmar,1,Mystics in Bali,1,Nah Hyeon,1,Namiya,1,Nandita Roy,1,Naoko Ogigami,5,Naomi Kawase,3,Naosuke Kurosawa,1,Naoyuki Tomomatsu,3,Nawapol Thamrongrattanarit,2,Neeraj Ghaywan,1,Neko Atsume House,1,Neomanila,2,Nepal,1,Nervous Translation,1,Neuchâtel International Fantastic Film Festival,1,Never Ending Blue,1,New Neighbor,2,New World,1,News,7,Newton,1,Nicholas Poly,4,Night Bus,1,Night is Short,1,Night is Short Walk on Girl,1,Night of the Felines,1,Nikhil Allug,1,Nikkatsu,1,Nikola Cekic,1,Ninja Pussy Cat,1,Nirbaak,1,Niwatsukino Norihiro,1,No Where,1,Noboru Iguchi,1,Noboru Tanaka,1,Noboru Uguchi,1,Nobuhiko Obayashi,2,Nobuhiro Yamashita,2,Nobuo Nakagawa,2,Nobuyuki Takeuchi,2,Noise,2,Non-fiction Diary,1,Norbu,1,Noriaki Tsuchimoto,1,Norihiro Niwatsukino,1,Norjmaa,1,Norman England,2,North Korea,2,Now Here,1,Nurse Diary: Beast Afternoon,1,NYAFF,34,Nyamdavaa Baasansuren,1,Odd Obsession,1,Oh In-Chun,1,Old Boy,2,Old Stone,1,Old-School Kung-Fu Fest,3,Omar Rasya Joenoes,4,On the Job,1,On The Line Festival,3,On the Run,1,Onibaba,1,Operation Red Sea,1,Ophilia,1,Ordinary Person,1,Osaka Asian Film Festival,9,Osamu Sato,1,Our Happy time,1,Our Time Will Come,1,Outrage Coda,1,Over the Fence,1,Oxhide,1,Oxhide II,1,Oxide Pang,1,Pad Man,1,Padmavati,2,Pai Kau,1,Palatpol Mingpornpichit,2,Pale Flower,1,Panos,1,Panos Kotzathanasis,265,Paresh Mokashi,1,Park Chan-wook,2,Park Hee-joon,1,Park Hoon-Jung,3,Park In-je,1,Park Ki- hyung,1,Park Kwang-hyun,1,Parkpoom Wongpoom,1,Party Round the Globe,1,Passage of Life,1,Past and Future,1,Patrick Hofmeister,69,Patrick Tam,1,Pedro Morata,10,Peerachai Kerdsint,1,Pelden Dorji,1,Pema "Tintin" Tshering,1,Pema Tshering,1,Pen-Ek Ratanaruang,2,Peng Xiaolian,1,Pengfei,2,Pepe Diokno,1,Peque Gallaga,1,Perfect Blue,2,Peter Chan,1,Peter Chen,1,Phanumad Disattha,1,Philippines,17,Pieter - Jan Van Haecke,4,Pieter-Jan Van Haecke,8,Pink Eiga,14,PinkEiga.TV,5,pinku eiga,1,Pinneyum,1,Poet on a Business Trip,1,Poolside Man,1,Pop Aye,1,Posto,1,Press Release,2,Prophecy,1,Proshoon Rahmaan,2,Psychic,1,Pumpkin and Mayonnaise,1,Queen of Triads,1,R.Balki,1,Rabbit and Lizard,1,Radiance,1,Rage. Lee Sang-il,1,Rahul Jain,1,Railway Sleepers,1,Rainy Dog,1,Raja Mukhriz,1,Rajkumar Gupta,1,Ram,1,Ram Gopal Varma,1,Randy Mckenzie,4,Rape Zombie: Lust of the Dead,1,Rape Zombie: Lust of the Dead 2,1,Ravine of Goodbye,1,Re:Born,1,Real,1,Realism,1,Red Beard,1,Red Persimmons,1,Reipu zonbi: Lust of the dead 3,1,Resistance at Tule Lake,1,Respeto,2,Resurrection,1,Revenge: A love story,1,Review,6,Reviews,283,Reviews.,2,Reviews. Panos Kotzathanasis,1,Riri Riza,3,Ritwik Ghatak,2,River of Exploding Durians,2,River's Edge,2,Robin Weng,1,Roger Lee,2,Roman Porno,1,Ronja,1,Rouge,1,Roya Sadat,2,Running on Karma,1,Russia,1,RV: Resurrected Victims,1,Ryoo Seung-wan,1,Ryota Sakamaki,1,Ryuki,1,Ryutaro Ninomiya,2,S. Korea,71,S.Korea,2,Saayak Santra,9,Sabrina Baracetti,1,Sabu,3,Salaam Bombay,1,Samui Song,1,San Diego Asian Film Festival,13,San Diego Film Festival,1,Sanjay Leela Bhansali,2,Sanjeewa Pushpakumara,2,Sankha Ray,29,Sarita Khurana,1,Satan's Slaves,3,Satoru Hirohara,1,Satoshi Kon,3,Satya,1,Satyajit Ray,1,Say Yes,1,Sayandeep Bandyopadhyay,6,Scarlet Heart,1,Score,1,Seijun Suzuki,3,Sekigahara,1,Serga Mathang,1,Sexy S.W.A.T. Team,1,Sha Po Lang,1,Shake Rattle and Roll,1,Shakti Sounder Rajan,1,Shanjhey Kumar Perumal,1,Shanker Raman,1,Shaw Brothers,2,She Remembers He Forgets,2,She's the Boss,1,Shehjar,1,Shiboprosad Mukherjee,1,Shift,2,Shigeru Umebayashi,1,Shikhar Verma,11,Shikhar Verna,3,Shinichi Fukazawa,1,Shinji Somai,2,Shinji Sômai,1,Shinjuku Swan,1,shinjuku Swan II,1,Shinjuku Triad Society,1,Shinobi no Kuni,2,Shinsuke Ogawa,1,Shinsuke Sato,2,Shinya Tsukamoto,4,Shireen Seno,2,Shirley Abraham,1,Shock Wave,1,Shôhei Imamura,1,Shoot for the Contents,1,Shorts,4,Shotaro Kobayashi,1,Shu Qi,1,Shunji Iwai,2,Shutter,1,Shuttle Life,2,Shyam Ramsay,1,Siddiq Ahamed,1,Sidharth Bharathan,1,Signature,1,Silent Mist,1,Silver Spleen,2,Singapore,3,Singh Anand,1,Singing Chen,1,Sinophone,1,Sion Sono,10,Siti,1,Sixth Sense Hooker,1,Slavemen,1,Sleep Curse,1,Small Talk,2,Smriti Mundhra,1,Sogo Ishii,2,Solanin,1,Solitude,1,Solo,1,Someone To Talk To,1,Sompot Chidgasompongse,2,Song Hae-sung,1,Song Kang-ho,1,Song of the Week,22,Sopawan Boonnimitra,1,Sopon Sakdapisit,1,Soul,1,Soul Mate,1,SoulMate,2,South Korea,20,Sri Lanka,3,Srijit Mukherji,7,Stammering Ballad,1,Stanley Kwan,1,Stanley Tong,1,Steel Rain,1,Stephen Chow,1,Stephen Fung,2,Steve James,1,Still the Water,1,Stoneman Murders,1,Story in Taipei,1,Strange Circus,1,Studio Ghibli,1,StudioCanal,4,Subenja Pongkorn,2,Suffering of Ninko,2,Sugihara Survivors: Jewish and Japanese,1,Suicide Club,1,Suman Mukhopadhay,1,Summer Snow,1,Sun-ho Cho,1,Sunao Katabuchi,3,Sunday Beauty Queen,1,Sung-hong Kim,1,Sunk Into the Womb,1,Susumu Hirasawa,1,Sweating the Small Stuff,2,Tadashi Nagayama,1,Tae Guk Gi,1,Tag,1,Taiwan,26,Takaaki Hashiguchi,1,Takahide Hori,1,Takahiro Miko,1,Takahisa Zeze,1,Takao Nakano,1,Takaomi Ogata,4,Takashi Miike,10,Take Care of My Cat,1,Takeo Kikuchi,2,Takeshi Kaneshiro,1,Takeshi Kitano,1,Takuro Nakamura,2,Talop Wangchuk,1,Tamil,4,Tamura Senichi,1,Tang Seng Kiat,2,Tanit Jitnukul,1,Tanvir Ashraf,2,Taste of Rice Flower,2,Tatara Samurai,1,Tatsuhi Omori,1,Tatsumi,1,Tatsumi Kumashiro,1,Teddy Soeriaatmadja,1,Teenkahon,1,Teppei Nakamura,1,Tetsuo the Iron Man,1,Tetsuya Mariko,1,Tetsuya Nakashima,1,Thailand,21,Thanatos Drunk,1,That's It,1,The Adventurers,2,The Apology,1,The Bad,1,The Blue Redemption,1,The Boy and the Beast,3,The boy from Ipanema,1,The Brink,1,The Chase,1,The Cinema Travellers,1,The Crawler in the Attic,1,The Crazy Family,1,The Day After,1,The Detective,1,The Discloser,1,The Dollhouse,1,The elephant and the sea,2,The Executioner,1,The Eye's Dream,1,The Forest Whispers,1,The Forsaken Land,1,The Fortress,1,The Gangster's Daughter,1,The Girl Who Never Knew War,1,The Golden Fortress,1,The Good,1,The Great Buddha+,1,The Great Passage,1,The Hole,1,The Hungry Lion,1,The Inugami Family,1,The Iron Ministry,1,The Island That All Flow By,1,The Isthmus,1,The Kid from the Big Apple,1,The King of Pigs,1,The Last Executioner,1,The Last Painting,1,The Long Excuse,1,The Looming Storm,1,The Lowlife,1,The Magic Blade,1,The Man Without a Map,1,The Mayor,1,The Merciless,2,The Mermaid,1,The Muse,1,The Naked Island,1,The Name,1,The Net,1,The Night of the Earthquake,1,The Outlaws,1,The Prison,1,The Promise,1,The Raid,1,The Raid 2,1,The recipe,1,The Road Home,1,The Road to Mandalay,1,the Robber's Daughter,1,The Room,1,The Sacrament,1,The Salesman,1,The Seen and Unseen,1,The Sleep Curse,1,The Sower,2,The Story of the Disappearance of Maryam,1,The Strange Saga of Hiroshi the Freeloading Sex Machine,1,The Swindlers,1,The Table,1,The Third Murder,1,The Thousand Faces of Dunjia,1,The Tiger: An Old Hunter's Tale,1,The Tokyo Night Sky is Always the Densest Shade of Blue,1,The Tooth and the Nail,1,The Truth Beneath,1,The Vanished,1,The Villainess,3,The Violin Player,1,The Way We Are,1,The Weird,1,The Windmill Palm Grove,1,Theeran Adhigaaram Ondru,1,Third WIndow,1,This Is Not What I Expected,1,This Is Not What I Expected!,1,Thondimuthalum Driksakshiyum,1,Three Sisters,1,Three Times,1,Tiffany Hsiung,1,Tik Tik Tik,1,Tôkaidô Yotsuya kaidan,1,Tokyo Ghoul,1,Tokyo Heaven,1,Tokyo Idols,1,Tokyo Vampire Hotel,1,Tolerance Film Festival,1,Tom Waller,2,Tony Leung,1,Tony Takitani,1,Torico,2,Toronto International Film Festival,1,Toshiaki Toyoda,2,Toshihisa Yokoshima,3,Toshimasha Kobayashi,1,Toshio Matsumoto,1,Toshiya Fujita,1,Town in a Lake,1,Traces of Sin,1,Trailers,80,Train to Busan,1,Tran Ham,1,Translated articles,1,Trapped,1,Travellers and Magicians,1,Treb Monteras II,2,Trinh T. Minh-Ha,3,Triple Threat,1,Tsai Ming-liang,2,Tulsi Ramsay,1,Twenty Two,1,Twilight Dinner,1,Twitch: You Are My Toy,1,Typhoon Club,1,Um Tae-hwa,1,Unbowed,1,Uncovered: Tales of the Naked Theater,1,V.I.P.,1,Vagabond,1,Vampire Cleanup Department,2,Vanishing Time A Boy Who Returned,1,Vannaphone Sitthirath,1,various,1,Varnyathil Aashanka,1,Verena Paravel,1,Vesoul International Film Festival,20,Vidya Balan,1,Vietnam,5,Vikramaditya Motwane,1,Vimukthi Jayasundara,1,Vinay Shukla,1,Vincent Kok,1,Violated Angels,1,Visitor Q,1,Vital,1,Vitaly Mansky,1,Vivien Qu,1,Voyage to Terengganu,1,Wai Ka-fai,1,Walk on Girl,1,Wang Bing,3,Wang Chao,2,Wang Lung-wei,1,Wang Ming-tai,1,Warriors of the Dawn,2,We Make Antiques,1,Weeds on Fire,1,Wei-Hao Cheng,1,Wellgo USA,2,West North West,2,What A Wonderful Family 2,1,What Time Is It There?,1,Whispering Corridors,1,Whispering Star,1,White Sun,1,Who Killed Cock Robin,1,Whore Angel,1,Wilson Yip,1,Wiman Rizkidarajat,1,Wine War,1,Winter Vacation,1,With Prisoners,1,Without Memory,1,Wol-Ha: Very Bad Moon Rising,1,Woman of the Lake,1,Won Shin-Yeon,1,Wong Chun,3,Wong Jing,2,Wong Kar-wai,2,Woo Ming Jin,1,Xaisongkham Induangchanthy,1,Xu Bing,1,Ya-che Yang,1,Yamato (California),4,Yan Pak Wing,2,Yang Chao,2,Yang Ik-june,1,Yang Jong-hyeon,1,Yang Woo-seok,1,Yao Tian,1,Yeon Sang-ho,2,Yes Madam,1,Yeti Obhijaan,2,Yin Liang,1,Yiu-wai Chu,1,Yoji Yamada,1,Yoo Ha,1,Yoon-chul chung,1,Yoonsuk Jung,1,Yosep Anggi Noen,1,Yoshihiro Hanno,1,Yoshihiro Nakamura,2,Yoshihiro Nishimura,3,Yoshimasa Jimbo,1,Yoshinari Nishikori,1,Yoshishige Yoshida,1,Yoshitaka Mori,1,Yoshiyuki Kishi,1,Yosuke Takeuchi,2,Yotsuya kaidan,1,You Losers!,1,Your Name,1,Youth,1,Yu Aoi,2,Yu Irie,1,Yu Sang-wook,1,Yuen Chor,1,Yuen Woo-ping,1,Yuji Shimomura,1,Yûji Tajiri,2,Yujiro Harumoto,2,Yuki Tanada,1,Yukihiko Tsutsumi,2,Yukuhiro Morigaki,2,Yusaku Matsumoto,2,Yutaka Ikejima,3,Yutaro Nakamura,1,Yuya Ishii,2,Zakka Films,2,Zhang Lu,1,Zhang Nan,1,Zhang Yimou,1,Zig Dulay,1,Zombiology: Enjoy Yourself Tonight,1,Zuairijah Mou,1,Zuri Rinpoche. Bhutan. Five Flavours,1,
Asian Film Vault: Interview with Yukihiro Morigaki: I believe women are the center of the world
Interview with Yukihiro Morigaki: I believe women are the center of the world
We speak with Yukihiro Morigaki about "Goodbye Grandpa", the concept of family, the problems youth face in the country, priests, the Japanese movie industry and other topics.
Asian Film Vault
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