As a movie reviewer who has spent years wandering the byways of international cinema, I must say that Koya Kamura’s debut, “Winter in Sokcho,” is a breathtaking and poignant exploration of identity, connection, and the delicate balance between art and intrusion.
Koya Kamura’s debut film, destined for the Toronto Film Festival’s esteemed Platform program, disrupts the peaceful flow of daily life. This thought-provoking movie, based on Elisa Shua Dusapin’s novel, unfolds in a chilly coastal town named Sokcho, South Korea. The film sensitively portrays the intricate disintegration of a young woman’s quest for self-discovery and the intricacies of human relationships
In this story, Bella Kim, a fresh talent portraying Soo-ha, lives a peaceful yet dreary life, spending her days managing a small inn during the off-season. However, her structured daily routine is disturbed by the arrival of Yan Kerrand, a well-known French artist, played by Roschdy Zem from “The Innocent.”
Kerrand’s arrival doesn’t just mean a new visitor; it triggers Soo-ha to face lingering issues from her past. They may be in the same location, but they play different roles: he as an artist, she as his subject, and she as a local resident while he is a tourist. Abandoned by her French father before birth, Soo-ha’s meeting with Kerrand stirs emotions and questions that have been hidden for years. Meanwhile, Kerrand seeks fresh inspiration, looking for a muse to rekindle his creative spark
In my admiration, I skillfully intertwine Agnès Patron’s renowned animation, famously acknowledged for her César-winning short “And Then The Bear,” with live action. This unique blend allows us to delve into the characters’ inner turmoil, using animation as a means to circumvent the limitations of voiceover narration. As I embarked on this project, I yearned to incorporate these abstracted animation sequences. To me, they serve as portals into Soo-ha’s mind, providing the audience with an intimate peek into her thoughts and profound emotions
The movie, made by Offshore and Keystone Films, will have its worldwide distribution managed by Be For Films. After making its debut in Toronto, the movie is scheduled to wrap up the New Directors category at San Sebastian Film Festival. I had a chance to interview Kamura before the film’s premiere in Toronto with EbMaster
Deciding which story to tell for my debut film was quite a challenge. However, when I encountered Elisa Shua Dusapin’s novel “Winter in Sokcho”, I was immediately drawn in by its exploration of identity through the perspective of a young woman who never knew her father. As I delved deeper into the narrative, vivid images filled my mind and I found myself becoming increasingly captivated by the character. Coincidentally, Fabrice Préel Cléach, the producer of my previous short films, shared this fascination with the book, so we began collaborating on its adaptation for the screen
As a film enthusiast, I’m always curious about the behind-the-scenes process. Casting these actors was quite an adventure! Landing Roschdy, an A-lister, for my debut film felt like a long shot, given our contrasting profiles. However, his love for the script and our successful initial meeting led to him joining the project, leaving me in a state of disbelief!
Are there any personal links between you and the story or location of “Winter in Sokcho”? If so, how has this link affected your approach to the narrative?
Growing up, I was born and reared in Paris, with a mother of French descent and a father who hailed from Japan. Due to my physical appearance, I was frequently labeled as the “Chinese kid” within France’s borders. When I relocated to Japan later on, people there didn’t perceive me as Japanese either. This observation pertains not only to my physical appearance but also to aspects like language, cuisine, and cultural preferences. I’m currently grappling with the realization that I don’t have to be recognized as French or Japanese; instead, I can forge my own identity
Given your experience in creating commercials and working with Disney, what unique advantages do you bring to filmmaking because of this background?
Prior to creating my initial short film titled “Homesick” in 2019, I had already honed my directing skills by working on commercials for brands like Disney and others. This meant that being on a set with a team and technical equipment was nothing new to me. Consequently, when it came time to shoot my first film, the whole setup felt almost routine, allowing me to concentrate on aspects that challenged me, such as maintaining the storyline cohesively, working effectively with actors, and so forth
In this discussion, we’re examining the ethical dilemma faced by artists when they draw inspiration from people they don’t know. How do you feel about the balance between an artist’s desire to be inspired and the possibility of invading someone else’s personal space or interfering with their relationships?
Indeed, this ethical issue holds significant weight for me, as I’ve faced a similar dilemma while filming “Homesick” in Fukushima, amidst refugees displaced by the nuclear disaster. I made every effort to listen to their stories and portray them truthfully without breaching their trust. However, I can’t help but reflect that ultimately, I may have benefited from this operation more than they did. This sense of self-interest is a characteristic of Kerrand. Moreover, it’s evident that he extracts significantly more from Soo-ha than he returns to her
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2024-09-04 15:54