{"id":461,"date":"2026-05-22T05:35:49","date_gmt":"2026-05-22T05:35:49","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=461"},"modified":"2026-05-22T05:35:49","modified_gmt":"2026-05-22T05:35:49","slug":"hamaguchi-ryusuke-on-cannes-palme-dor-contender-all-of-a-sudden-what-i-was-moved-by-was-what-was-in-the-book-itself","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=461","title":{"rendered":"Hamaguchi Ryusuke on Cannes Palme d\u2019Or Contender \u2018All of a Sudden\u2019: \u2018What I Was Moved By Was What Was in the Book Itself\u2019"},"content":{"rendered":"
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\nHamaguchi Ryusuke watched the standing ovation after the Cannes premiere of \u201cAll of a Sudden\u201d with a degree of caution. He is not, he says, someone who takes ovations entirely at face value.<\/p>\n

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\n\t\u201cI also know that a standing ovation is kind of a tradition here,\u201d he tells Variety<\/em>. \u201cI don\u2019t know how seriously I\u2019m supposed to take it.\u201d But then he looked at the faces. \u201cI felt very much that the film was being accepted by the people.\u201d What settled it for him wasn\u2019t the applause but what he saw in his leads: Virginie Efira and Okamoto Tao, both of them visibly moved. \u201cThey looked like they had just accomplished something really important,\u201d he says. \u201cTo be able to see their expressions and to be with them gave me a lot of happiness.\u201d<\/p>\n

\nReviewing the film for Variety<\/em>, Jessica Kiang wrote: \u201cThe Japanese director\u2019s gorgeous new feature is the rarest type of film, not merely good enough to remind you what cinema can be, but great enough to remind you what life can be.\u201d<\/p>\n

\n\tThe ovation came at the end of a competition premiere that moved many in the audience to tears. It was a reception proportional to the ambition of the project, which took Hamaguchi five years to crack and required him to work in a country whose language he doesn\u2019t speak, with actors performing in languages not their own, adapting a book that \u2013 by his own account \u2013 contained not a single visual element.<\/p>\n

\n\t\u201cAll of a Sudden,\u201d which competes for the Palme d\u2019Or, is loosely drawn from a real correspondence published as \u201cYou and I \u2013 The Illness Suddenly Get Worse,\u201d letters exchanged between the philosopher Miyano Makiko, who was dying of cancer, and the medical anthropologist Isono Maho. In the film, Efira plays the director of a Parisian nursing home and Okamoto a terminally ill Japanese theater director whose arrival there draws the two women into an increasingly intimate reckoning with mortality. The co-production between Japan and France is Hamaguchi\u2019s first film set primarily outside Japan, and his first in the French language.<\/p>\n

\n\tThe source material had been on his mind for longer than the project itself. When developing \u201cWheel of Fortune and Fantasy,\u201d he had read \u201cThe Problem of Contingency\u201d by the early-20th-century Japanese philosopher Shuzo Kuki \u2013 a dense work he describes as \u201cgenuinely difficult to understand.\u201d Miyano, a philosopher whose own research focused on coincidence, writes about that same Kuki text in her letters. Encountering her reading of it, Hamaguchi felt an immediate affinity. \u201cI felt a certain closeness to what I was doing,\u201d he says. But the connection that ultimately compelled him was less intellectual than physical. \u201cWhen I read those words, my body shook,\u201d he says. \u201cI felt that if I could pass that feeling on to the audience, I would be passing on something that is actually very important.\u201d<\/p>\n

\n\tWhat stopped him from moving quickly was the obvious problem: there was nothing to film. The letters are abstract, philosophical, emotional \u2013 and resolutely non-visual. Hamaguchi spent time with Isono, conducting a long interview. He spoke with Miyano\u2019s family and friends to understand who she had been. And then he realized that none of it was what he wanted to make. \u201cWhat I was moved by was what was in the book itself,\u201d he says. He also had a more practical concern. Fictionalizing real people, he explains, inevitably simplifies them. \u201cI didn\u2019t want the audience\u2019s curiosity to bleed into the private lives of Isono or Miyano\u2019s family.\u201d A genuine leap into fiction was the only option. He just didn\u2019t know what shape it would take.<\/p>\n

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\n\tThe answer arrived about two years in, when the French production company Cinefrance approached him about shooting in France. \u201cSomething clicked,\u201d he says. He thought of Eric Rohmer \u2013 specifically \u201cMy Night at Maud\u2019s\u201d \u2013 and of the appetite French audiences have for philosophical conversation as entertainment. \u201cI felt that even if the dialogue was very abstract, there was a possibility that this could work as a film,\u201d he says. He brought the project to his Japanese producer, Hiroko Matsuda, asked her to connect with Cinefrance, and the co-production was set.<\/p>\n

\n\tWith the Franco-Japanese frame in place, he needed a structural bridge between the two countries. He found it in Humanitude \u2013 a care philosophy developed in France roughly 40 years ago and introduced in Japan about a decade ago, built around the principle of attending to patients, particularly those with dementia, as fully human beings. \u201cIt\u2019s not simply a method for dementia care,\u201d Hamaguchi says. \u201cI felt it had clues about how to treat other people as human beings. And I felt it connected with my own work.\u201d The film is set partly in a Humanitude facility, and the methodology gives the relationship between Efira\u2019s and Okamoto\u2019s characters both its occasion and its ethical ground.<\/p>\n

\n\tThe casting decision that followed was the film\u2019s most audacious. Efira and Okamoto would each spend parts of the film speaking in the other woman\u2019s language \u2013 not fluently, but intelligibly enough to perform. Hamaguchi structured an extended preparation period built around repeated readings of a bilingual script, Japanese alongside French, so that the words and their emotional weight could sink into each actor\u2019s body before production began. \u201cThey had to really see each other and really listen,\u201d he says. \u201cNot just to the meaning of the words, but to what was happening physically in the other person.\u201d He argues that the multilingual setup made a specific kind of attentiveness not just possible but necessary. \u201cThat heightened attention \u2013 I felt the situation allowed for it to happen naturally.\u201d He pauses. \u201cHonestly, working with them re-confirmed to me how amazing actors are.\u201d<\/p>\n

\n\tThe French set culture also offered something Hamaguchi had not encountered in Japan. At home, he explains, tight budgets and schedules create a filmmaking environment organized around contingency: plan A, plan B, plan C, each requiring preparation that can itself become exhausting. In France he found the opposite orientation. \u201cThere\u2019s a freedom to do what you feel is right in that moment, and it was shared across the whole crew,\u201d he says. \u201cIn Japan that is not usually the case.\u201d Because he arrived with the preparation habits of a Japanese filmmaker, the combination turned out to suit the material. \u201cI brought a lot of preparation to a place that also allows for freedom,\u201d he says. \u201cI felt the result was really good.\u201d<\/p>\n

\n\tWhat he is thinking about next is deliberately smaller in scale. After a production that required years of buildup and a cross-continental shoot, he wants to return to something compact \u2013 short films, he says, in the spirit of \u201cWheel of Fortune and Fantasy,\u201d which was itself a triptych. \u201cWhenever I gain something through making a film, I need to confirm what was working in a much smaller scope,\u201d he says. \u201cSmall experiments.\u201d He does not yet know what they will be about. <\/p>\n

\n\t\u201cAll of a Sudden\u201d opens in Japan on June 19 and in France on Aug. 12. North American rights are held by Neon.<\/p>\n

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Hamaguchi Ryusuke discusses his Cannes competition entry ‘All of a Sudden,’ a French-Japanese co-production starring Virginie Efira and Okamoto Tao.<\/p>\n","protected":false},"author":1,"featured_media":460,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[492,3,493,494],"class_list":["post-461","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-all-of-a-sudden","tag-cannes-film-festival","tag-hamaguchi-ryusuke","tag-virginie-efira"],"yoast_head":"\nHamaguchi Ryusuke on Cannes Palme d\u2019Or Contender \u2018All of a Sudden\u2019: \u2018What I Was Moved By Was What Was in the Book Itself\u2019 - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=461\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hamaguchi Ryusuke on Cannes Palme d\u2019Or Contender \u2018All of a Sudden\u2019: \u2018What I Was Moved By Was What Was in the Book Itself\u2019 - 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