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Yamanaka first met her lead when Kawai passed the director a fan letter in 2018 after seeing Amiko in high school; it read, “I will become an actress. Please keep me in mind for your casting someday.” “There are a lot of people who say things like that, but she made a big impression on me,” Yamanaka recalls. A year or two later, she began to see Kawai in minor film roles: “She would even sometimes be a better performer than the main actor. I kept my eye on her.” With Kawai in mind, she eventually wrote a role with intense ups and downs and often opaque motives. An affection for Maurice Pialat’s complex, enigmatic female protagonists in À Nos Amours (1983) and Loulou (1980) is evident, as are Chinese filmmaker Lou Ye’s kindred spirits. “I love that in Lou Ye’s films the women are very much like Kana,” Yamanaka says. “They’ll say what they want, and to men who piss them off, they’ll express their anger freely.”I Heart Good Boys Shirt
In Kana’s case, her inability to communicate is expressed through violence: “It’s a kind of language between the characters.” Domestic physical altercations between Kana and her boyfriend, for instance, are startling before they become mundane—and later, even humorous. “When you first fight with someone, you’re truly upset,” Yamanaka observes. “But repeating the same fight over and over, it starts to feel like role-playing more than the initial anger.” The first scuffle is filmed with a kinetic handheld camera. “You really feel the fight,” she notes. “But as the fights continue, the camera becomes objective and still. I also wanted to capture how, when you see other people fighting from a distance, it just seems odd, almost funny. And there’s a part of the characters themselves that sees how stupid it is.”
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