Renowned Filmmakers Rithy Panh and Miyake Sho Weigh In on Cinema, Labor, and Changing Viewing Habits.
Cambodian director Rithy Panh and Japanese filmmaker Miyake Sho recently engaged in a conversation at the Tokyo International Film Festival's TIFF Lounge about filmmaking, memory, and work. The discussion delved into their individual perspectives as two of world cinema's most distinctive voices.
Panh expressed his appreciation for reuniting with Miyake after Locarno, where Miyake's film "Two Seasons, Two Strangers" won the Golden Leopard award. Panh praised the film for its portrayal of solitude and everyday gestures, stating, "When a director places the camera where human grace appears, that's cinema." Panh attributed his admiration to working with contemporary actors, which allowed him to capture their essence in the present moment.
Miyake shared that his film was inspired by stories from manga artist Yoshiharu Tsuge, but its true focus lay in the collaboration with modern-day actors. He emphasized the importance of capturing each person's unique presence at this particular moment in time. This idea resonated with Panh, who reminded himself of his own experiences documenting the Dogon people and their concept of "dama," or divine grace.
The conversation turned to Miyake's latest film, "Two Seasons, Two Strangers," which world premiered in Tokyo. He described it as a beautiful work that harmonizes editing, lighting, acting, and time. When asked about Panh's new project, "We Are the Fruits of the Forest," he noted that it resonated with him, evoking memories of his grandfather, who worked as both a farmer and coal miner.
The two filmmakers also discussed how changing viewing habits have affected cinema. Panh lamented that people now watch shorter episodes on small screens, whereas films are often akin to full meals. Miyake acknowledged this shift while emphasizing the value of his own work in capturing the essence of human experience through cinema.
In a nod to their respective approaches, Panh expressed his intention to shoot his next project using Super 8 film as a protest against the dominance of digital formats. He jokingly considered opening a fast-food restaurant if no one watched it. Miyake, on the other hand, continued to prioritize empathy and genuine human experience in his work.
When asked about the meaning of labor, both filmmakers offered distinct perspectives. Panh believed that every kind of labor, even the most challenging, holds valuable lessons and experiences. He also emphasized the importance of empathy as a political act. Miyake, too, drew parallels between labor and personal growth, stating that experience shapes us more than work itself.
The conversation concluded with both filmmakers sharing their definitions of work and hope. Panh defined his as maintaining learning, staying calm, and preserving positivity in the face of complexity. Miyake's vision was slightly more ambiguous but emphasized reaching others through cinema with empathy. Their differing yet complementary approaches underscored the significance of these discussions, reinforcing the importance of preserving artistic voices like theirs.
"Two Seasons, Two Strangers" is set to open in Japan next week, offering audiences a chance to experience Miyake's poignant and beautiful film. As we continue to navigate an ever-changing media landscape, Panh and Miyake remain vital voices in cinema, reminding us of the power of storytelling to evoke empathy and understanding.
Cambodian director Rithy Panh and Japanese filmmaker Miyake Sho recently engaged in a conversation at the Tokyo International Film Festival's TIFF Lounge about filmmaking, memory, and work. The discussion delved into their individual perspectives as two of world cinema's most distinctive voices.
Panh expressed his appreciation for reuniting with Miyake after Locarno, where Miyake's film "Two Seasons, Two Strangers" won the Golden Leopard award. Panh praised the film for its portrayal of solitude and everyday gestures, stating, "When a director places the camera where human grace appears, that's cinema." Panh attributed his admiration to working with contemporary actors, which allowed him to capture their essence in the present moment.
Miyake shared that his film was inspired by stories from manga artist Yoshiharu Tsuge, but its true focus lay in the collaboration with modern-day actors. He emphasized the importance of capturing each person's unique presence at this particular moment in time. This idea resonated with Panh, who reminded himself of his own experiences documenting the Dogon people and their concept of "dama," or divine grace.
The conversation turned to Miyake's latest film, "Two Seasons, Two Strangers," which world premiered in Tokyo. He described it as a beautiful work that harmonizes editing, lighting, acting, and time. When asked about Panh's new project, "We Are the Fruits of the Forest," he noted that it resonated with him, evoking memories of his grandfather, who worked as both a farmer and coal miner.
The two filmmakers also discussed how changing viewing habits have affected cinema. Panh lamented that people now watch shorter episodes on small screens, whereas films are often akin to full meals. Miyake acknowledged this shift while emphasizing the value of his own work in capturing the essence of human experience through cinema.
In a nod to their respective approaches, Panh expressed his intention to shoot his next project using Super 8 film as a protest against the dominance of digital formats. He jokingly considered opening a fast-food restaurant if no one watched it. Miyake, on the other hand, continued to prioritize empathy and genuine human experience in his work.
When asked about the meaning of labor, both filmmakers offered distinct perspectives. Panh believed that every kind of labor, even the most challenging, holds valuable lessons and experiences. He also emphasized the importance of empathy as a political act. Miyake, too, drew parallels between labor and personal growth, stating that experience shapes us more than work itself.
The conversation concluded with both filmmakers sharing their definitions of work and hope. Panh defined his as maintaining learning, staying calm, and preserving positivity in the face of complexity. Miyake's vision was slightly more ambiguous but emphasized reaching others through cinema with empathy. Their differing yet complementary approaches underscored the significance of these discussions, reinforcing the importance of preserving artistic voices like theirs.
"Two Seasons, Two Strangers" is set to open in Japan next week, offering audiences a chance to experience Miyake's poignant and beautiful film. As we continue to navigate an ever-changing media landscape, Panh and Miyake remain vital voices in cinema, reminding us of the power of storytelling to evoke empathy and understanding.
. As a film enthusiast, it's rad to see two masters weighing in on what matters most – labor, changing viewing habits, and capturing human essence on screen 
. What struck me was how their perspectives complement each other so nicely 
. Both of them emphasized the importance of empathy and genuine human experience in their work 
.
! And Miyake's dedication to capturing unique human presence is something I can get behind 
. What really resonated with me, though, was how both filmmakers see their work as a form of labor and personal growth 
.
! It's crazy to think that in this era of binge-watching short episodes on our tiny screens, we can still find solace in longer, more immersive cinematic experiences 
. Anyway, I'm hyped for "Two Seasons, Two Strangers" and can't wait to see how it shapes the conversation around cinema 
, and I'm excited to see his next project using Super 8 film - it'll be a breath of fresh air from all the digital stuff 
. It's refreshing to see them prioritizing the importance of storytelling over trends and commercial success 
. Can we talk about how these conversations are a reminder that cinema has the power to evoke empathy and understanding? It's so essential in today's world where we're constantly bombarded with info 
It's like the attention span of humans has shrunk to that of a goldfish! 
And what's with all these fast-paced videos on YouTube? Can't we just take a moment to appreciate something beautiful, even if it's just for a minute or two? 
I think Miyake Sho gets it right when he talks about empathy in cinema. It's like, art is supposed to make you feel something, not just make your eyes glaze over from too much information 
.
remember when my school's vlog team used to shoot on vhs it was always so much fun and had a retro vibe 
but hey i guess thats just the nostalgia talking rithy panh is like my hero he talks about capturing human grace in cinema and i think thatz really deep 
i wish more filmmakers would consider using super 8 film too its like theyre trying to forget our cinematic past 
anyway murray miiyake seems nice too his approach on empathy and genuine human experience is somethin we can all learn from 
I just love how Rithy Panh is all about capturing human moments on camera, it's like he's bottling up this magic 
. And I'm totally with him on not loving the digital age where you have to watch mini-episodes all day 
. Miyake Sho's films are so beautiful too, I love how he weaves in these human stories that make you feel something deep down 
. And can we talk about the importance of empathy as a political act? It's so true, work isn't just about doing a job, it's about growing and learning from your experiences 
anyway back to food, have you tried that new vegan burger place downtown? i heard their patties are made from mushrooms or something weird like that 