The Tokyo International Film Festival recently hosted an engaging discussion between Cambodian filmmaker Rithy Panh and Japanese director Miyake Sho. Their conversation at the TIFF Lounge explored themes of cinema, labor, and evolving viewing habits, offering unique insights into their creative journeys and philosophies. As both filmmakers continue to impact world cinema, their dialogue provides a fresh perspective on the art of filmmaking and its role in capturing the human experience.
Exploring Cinema and Memory
At the heart of their discussion, Rithy Panh and Miyake Sho delved into the power of cinema to capture memory and produce evocative imagery. Panh, serving as the president of the Locarno Film Festival jury that awarded Miyake’s “Two Seasons, Two Strangers” the Golden Leopard, praised the film’s ability to depict solitude and daily beauty. “When a director places the camera where human grace appears, that’s cinema,” he remarked.
Miyake, inspired by stories from manga artist Yoshiharu Tsuge, emphasized the significance of capturing contemporary actors. “We can only film them as they are now,” he shared, highlighting the fleeting nature of the present. For Panh, the film evoked memories of filming the Dogon people in Africa, underlining how cinema can reveal divine grace in every individual.
The Role of Labor in Film
Labor emerged as a central theme in their conversation. Panh introduced his latest work, “We Are the Fruits of the Forest,” as a poignant critique of capitalism’s impact on nature. He depicted the resistance of ethnic minorities through their labor, emphasizing the earth’s intrinsic value. Miyake resonated with this theme, reflecting on his grandfather’s work in Hokkaido and the unfilmed legacy of his hands.
Miyake stated that every labor experience shapes us, viewing it as a form of personal growth. For Panh, labor and cinema are intertwined, with filmmaking serving as both a livelihood and a medium for cultural exploration.
Current Viewing Habits and the Future
The discussion also touched on changing viewing habits. Panh noted the prevalence of short-form content consumed on small screens, likening it to brief subway rides. While acknowledging this trend, Miyake compared their cinematic work to preparing full meals rather than quick snacks, underscoring the depth they strive to deliver.
Panh expressed his desire to shoot his next project on Super 8 film, seeing it as a protest against digital dominance. He humorously added, “If no one watches, maybe I’ll open a fast-food restaurant instead.”
The Meaning of Work and Continuance
For both directors, work transcends mere occupation. Panh reflected on how cinema saved him, particularly through revisiting the Khmer Rouge era, and noted his continued quest for new cinematic expressions. Teaching cinema, he argued, is a form of political empathy and lifelong learning.
Miyake concluded with hope in cinema’s empathetic potential. “If one film can still reach someone with empathy, that’s enough reason to continue,” he mused.
As “Two Seasons, Two Strangers” prepares for its Japan release, the rich dialogue between Panh and Miyake underscores the enduring power of cinema to connect, challenge, and inspire.
