In the shadows of Tokyo’s relentless redevelopment, rising filmmaker Yuiga Danzuka found both the canvas and the subject for his Cannes Directors’ Fortnight selection “Brand New Landscape.” The debut feature transforms the Japanese capital’s architectural flux into a metaphor for a family navigating grief and disconnection.
“As someone born and raised in Tokyo, I’ve long felt a complex, hard-to-articulate emotion toward the city’s rapid transformation,” Danzuka says. “When my cultural discomfort with urban life overlapped with deeply personal feelings about my own family, I instinctively felt that this was a story that needed to be made into a film.”
The film follows two siblings grappling with their mother’s absence and the return of their estranged father, a renowned architect, against the backdrop of Tokyo’s ever-changing skyline.
Danzuka, who studied under filmmaker Kunitoshi Manda after dropping out from Keio University, reveals a nuanced perspective on his hometown: “When I look at Tokyo as a vast metropolis, I honestly find it difficult to clearly articulate its allure. While it stands as a symbol of centralized power in Japan, it also gives the impression of being hollowed out, as if lacking a clear sense of will.”
This urban emptiness became a metaphor throughout the film. “As this kind of city rapidly transforms, the characters – who, like the city, carry a sense of emotional emptiness – also begin to change, little by little,” he explains.
Stylistic parallels to legendary Japanese director Yasujirō Ozu have been noted, a comparison Danzuka embraces. “I also have great respect for Ozu, so I’m truly honored by the comparison. The frequent single cutbacks and the staircase shots in places like the pension are, in fact, homages to his work.”
However, Danzuka’s influences extend beyond Japanese cinema. “This film was also heavily influenced by many other directors. In terms of contemporary filmmakers, I’ve drawn significant inspiration from Kiyoshi Kurosawa, Edward Yang, David Fincher, Leos Carax, and Ruben Östlund.”
Kodai Kurosaki stars in the leading role of Ren Takano, while veteran actor Kenichi Endo (known for his work in Takeshi Kitano’s films) plays the father, with Haruka Igawa (“Tokyo Sonata”) as the mother. Mai Kiryu, who won Best Actress at the Beijing International Film Festival’s Flash Forward strand for “We Are Adults,” plays Ren’s sister Emi.
Working with cinematographer Koichi Furuya, Danzuka developed a distinctive visual approach. “I believe the positioning of the camera played a crucial role. When we look at the world through the camera, the characters occupy only a small portion of the frame, with the rest filled by the city, architecture, and nature.”
This deliberate framing served a specific purpose, he explains. “By treating the surrounding space and elements as deliberately as we did the actors, we aimed to create a sense of sacredness and objectivity. That objective perspective, in turn, allows the audience to vividly sense the emotional shifts of the characters they connect with.”
Unlike many directors who meticulously plan performances, Danzuka embraced spontaneity on set. “I don’t decide too much with the actors before filming. Sometimes lines are changed or cut on set. If a line seems difficult for an actor to deliver during rehearsal, we generally remove it from the script.”
The production faced real-world challenges that ultimately enhanced the film’s themes. “It was the scene on the pedestrian bridge near the end of the film where Ren and Emi talk. The originally planned location went under construction right after we started shooting,” Danzuka reveals. “Being able to shoot a scene in the midst of urban redevelopment was a unique and valuable experience that is distinctive to this film.”
Looking ahead, Danzuka plans to continue exploring urban themes. “I feel that people living in cities will likely continue to be a central motif in my work. I’m also interested in genres like science fiction that depict future cities, as they can encompass a wide range of themes.”
When asked about the film’s potential to resonate internationally, Danzuka highlighted its universal core: “This film began from a very personal place, but it deals with the universal theme of family, and I hope that aspect will resonate with international audiences.”
“Brand New Landscape” was produced by Siglo Ltd., the Japanese production company founded by Tetsujiro Yamagami that had previously received numerous international accolades, including a Silver Bear at the Berlin International Film Festival. It is produced in association with LesPros Entertainment. Luxbox is handling international sales.
