Mishima's New Film: Friendship, Flirting, and Finding Oneself

Director Mishima Yukiko, acclaimed for "Dear Etranger," takes a new direction with "Two Cigarettes, Three Nights," a film currently competing at the 39th Tokyo International Film Festival. The narrative centers on Kanna, a picture book illustrator, portrayed by Matsuoka Mayu, who finds herself at a crossroads in her personal life. Her relationships are complicated, leaving her seeking deeper connections.

The film revisits Kanna's bond with her college friend Haseo, played by Narita Ryo, after a seven-year separation. Their renewed friendship is depicted through shared walks and conversations, emphasizing a connection that is initially platonic but fraught with unspoken possibilities. Mishima's directorial choices, influenced by Ozu Yasujiro, often feature characters positioned side-by-side, looking in the same direction, fostering a sense of shared experience and subtle intimacy.

"Two Cigarettes, Three Nights" was filmed in Kyoto, Hiroshima, and Toyama Prefecture, with Mishima prioritizing locations that enhance the story's atmosphere over iconic scenery. The director sought settings where scenes could "come to life," moving away from conventional picturesque backdrops. This approach allows the characters' evolving dynamic and personal discoveries to unfold organically against a backdrop that mirrors their internal journeys.

Mishima notes the film's dialogue, while "trivial" in topic, possesses a bantering tone and an "unfiltered honesty." She intentionally delayed direct confrontations between Kanna and Haseo, opting to show them looking in the same direction, even in casual settings like ramen shops or on public transport. This visual technique underscores their growing alignment and shared perspective.

While the film opens with hints of a sex comedy, it evolves into a more intimate and complex portrayal of human relationships. Mishima cast her leads, Matsuoka and Narita, for their comedic timing, essential for handling lengthy dialogue scenes with rhythm and naturalism. The characters are not always likable, exhibiting selfish or callous behavior, yet Mishima believes this complexity allows viewers to relate to their emotions and find a piece of themselves.

The narrative expands to include other characters offering different viewpoints, including a bartender and Kanna's college friend. Mishima aimed for a multi-layered story, moving beyond the film's Japanese title, "The Male Friend," to focus on Kanna's evolving perspective. Her time with Haseo enables her to see herself and the world more clearly, a transformation encapsulated in a final painting that conveys her newfound understanding.

Mishima intended for the film's conclusion, particularly Kanna's painting created after her experiences, to communicate a message to the audience. This final artwork represents Kanna's learning process in Hiroshima and her ability to share that insight. The director aimed to depict this entire journey, from personal realization to the audience's reception of the conveyed message.