Director Lee Sang-il of Kokho attended the Hong Kong Asian Film Festival to unravel the mystique of Kabuki theatre!

This marks Lee Sang-il's third adaptation of a novel by author Yoshida Shuichi following Villain. He noted that Yoshida's portrayal of human nature is remarkably multidimensional, capturing desires and greed with such nuanced precision that it resonates deeply. Unlike previous projects, he did not pen the screenplay himself, instead inviting Satoko Okudera to take charge. His original intention was to incorporate a female perspective, yet he found her portrayal of male characters unexpectedly powerful and profound.

Lee hopes audiences will look beyond kabuki's surface glamour, through the protagonists' inner journeys to reflect on how individuals seek identity and meaning within closed systems. He noted kabuki's exceptionally high entrance barrier, the greater its artistic merit, the crueller its realities, entangled with lineage, inheritance and duty – paralleling many people's circumstances in society.

The director acknowledged the physical demands of kabuki performance, insisting that the actors themselves perform all the acts. Even the basic act of walking required a month of rehearsal for both actors. He humorously remarked that witnessing their initial training results left him feeling 'utterly hopeless,' yet their final delivery was nothing but profound respect. He added that kabuki costumes are as heavy as quilts, and the wigs are equally burdensome, placing immense strain on the body. The director humorously described the actors performing with a 'Tom Cruise spirit', drawing laughter from the audience.

The director also mentioned that from the very conception of this work, Yoshizawa Ryo was chosen for the lead role. His handsome appearance aligns with the character. As an actor, he possesses profound depth, rich layers, and immense artistic potential. As for Ryusei Yokohama, he infuses the character with rich emotion and vitality.

When discussing the reason for collaborating with a foreign cinematographer, Lee explained that precisely because kabuki is such a quintessentially Japanese cultural subject, he specifically sought someone without preconceived notions to capture its aesthetics, perspective, and emotions. This approach avoids being constrained by established cultural frameworks, allowing for a fresh exploration of kabuki's appeal from the ground up.