{"id":226,"date":"2026-05-19T11:34:44","date_gmt":"2026-05-19T11:34:44","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=226"},"modified":"2026-05-19T11:34:44","modified_gmt":"2026-05-19T11:34:44","slug":"yukiko-sode-on-cannes-un-certain-regard-title-all-the-lovers-in-the-night-two-people-on-the-margins-of-the-world","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=226","title":{"rendered":"Yukiko Sode on Cannes Un Certain Regard Title \u2018All the Lovers in the Night\u2019: \u2018Two People on the Margins of the World\u2019"},"content":{"rendered":"<div>\n<div>\n<!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tFor Yukiko Sode, the challenge wasn\u2019t pressure \u2013 it was pleasure. Adapting Mieko Kawakami\u2019s introspective novel \u201cAll the Lovers in the Night\u201d for the screen meant externalizing a protagonist\u2019s inner world, a task the director describes not as burden but as sustained creative exploration.<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=224\">AI-Created Vintage Adult Film Unveiled at Cannes (EXCLUSIVE)<\/a><\/p>\n<p>\n\t\u201cIt was certainly a challenge to find a way to externalize the protagonist\u2019s first-person introspection from the novel. But if anything, what stayed with me was the enjoyment of the process \u2013 continually exploring how to shape and articulate it cinematically,\u201d Sode says.<\/p>\n<p>\n\tThe film premieres in Un Certain Regard at Cannes this month, arriving at a moment when Japan serves as the March\u00e9 du Film\u2019s Country of Honor. For Sode, the timing carries dual significance.<\/p>\n<p>\n\t\u201cI am deeply honored that the film has been selected for Un Certain Regard in a year when Japanese cinema is in the spotlight. More than that, however, I value the opportunity for the film\u2019s strength to be tested \u2013 how far it can reach across borders and cultures,\u201d she says.<\/p>\n<p>\n\tKawakami\u2019s novel centers on Fuyuko, a freelance proofreader whose solitary routine shifts after meeting Mitsutsuka, a physics teacher. The screen version stars Yukino Kishii opposite Tadanobu Asano, a pairing Sode pursued with specific intent.<\/p>\n<p>\n\t\u201cIt was important that they feel like two people on the margins of the world \u2013 almost invisible, overlooked by everyone. As actors of immense talent whose profession is to be seen, I imagine this was no easy task, yet they responded beautifully. They carried a presence that felt as if they had been born into these roles,\u201d the director says.<\/p>\n<p>\n\tThe film\u2019s pacing reflects its protagonist\u2019s experience \u2013 slow stretches punctuated by subtle transformation.<\/p>\n<p>\n\t\u201cAs for the rhythm that runs through the film, it may divide opinion \u2013 whether one feels that nothing is happening, or that something is always unfolding. I see this not as a story about the two of them, Fuyuko and Mitsutsuka, but as a portrait of a woman\u2019s everyday life after she falls in love. She isn\u2019t thinking about romance twenty-four hours a day, so by giving more time to moments that don\u2019t involve Mitsutsuka, I felt we could more clearly convey the subtle shifts in her daily life,\u201d Sode says.<\/p>\n<p>\n\tBuilding Fuyuko\u2019s interior landscape on screen required tools beyond performance. Sode and her team leaned into cinematography, lighting, production design, and costume to express what dialogue couldn\u2019t carry.<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=222\">Ryu Seungryong, Han Hyojoo, Zo Insung and Go Younjung Return as Disney+ Begins Production on \u2018Moving\u2019 Season 2<\/a><\/p>\n<p>\n\tOn adapting a novel with an established readership, Sode rejects the notion of special responsibility attached to Kawakami\u2019s name specifically. The tension, she suggests, is inherent to any adaptation.<\/p>\n<p>\n\t\u201cI didn\u2019t feel any particular pressure simply because it was a novel by Mieko Kawakami. Adapting an existing work always comes with a certain sense of tension, regardless of how well-known the original is. But as I continue writing, a screenwriter\u2019s ego inevitably emerges. So I approach the process by holding both respect for the original and my own ego in balance, aiming to let them merge to the point where the boundary between what is drawn from the source and what is my own begins to dissolve,\u201d she says.<\/p>\n<p>\n\tThe film occupies territory between romance and psychological study, a tonal balance Sode navigated by viewing romantic feeling as inseparable from broader human need.<\/p>\n<p>\n\t\u201cI see romantic feelings as something intertwined with other human desires \u2013 intimacy toward family and friends, attachment, the desire for recognition, self-expansion, and the urge to fill a sense of lack. For that reason, I found myself working hard to shape the film within the framework of a romance. It ultimately came together as a romance because of the actors\u2019 remarkable performances. Thanks to them, I came to believe in those emotions myself,\u201d the director says.<\/p>\n<p>\n\tAsked to describe her thematic preoccupations as a filmmaker, Sode offers a succinct formulation.<\/p>\n<p>\n\t\u201cI\u2019m interested in what is shaped by social norms, and in the distance between that and the individual,\u201d she says.<\/p>\n<p>\n\tThat interest informs how Sode positions \u201cAll the Lovers in the Night\u201d within Japan\u2019s current international visibility. While narrative-driven films addressing social issues dominate contemporary Japanese cinema, her film pursues a different kind of relevance.<\/p>\n<p>\n\t\u201cIn recent years, even in Japan, films that deal with social issues or contemporary topics, or that are driven by strong, plot-led narratives, have become mainstream. Such works certainly offer a way for audiences to understand present-day Japan, but I see this film as contemporary in a different sense. Living in a society saturated with information, how can we come to feel \u2018there is something about you that only I can see,\u2019 \u2018a version of myself that only you can know,\u2019 and \u2018this very love \u2013 this one, here and now \u2013 is truly singular\u2019? Even though our clothes, our dates, and the words we use to express love are all, in a way, quotations from social norms\u2026Through a single relationship, the film explores this seesaw between the particular and the universal, and I hope that is something audiences outside Japan can also connect with,\u201d Sode says.<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=220\">Movistar Plus Appoints New Management Under New CEO Alfonso G\u00f3mez Palacio<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Director discusses adapting Mieko Kawakami&#8217;s novel, casting overlooked characters, and finding singular love amid social norms.<\/p>\n","protected":false},"author":1,"featured_media":225,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[269,270,3,271],"class_list":["post-226","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-all-the-lovers-in-the-night","tag-asano-tadanobu","tag-cannes-film-festival","tag-yukiko-sode"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - 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