{"id":137,"date":"2026-05-18T10:41:38","date_gmt":"2026-05-18T10:41:38","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=137"},"modified":"2026-05-18T10:41:38","modified_gmt":"2026-05-18T10:41:38","slug":"shogun-star-tadanobu-asano-returns-to-cannes-in-yukiko-sodes-arresting-romance-all-the-lovers-in-the-night","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=137","title":{"rendered":"\u2018Shogun\u2019 Star Tadanobu Asano Returns to Cannes in Yukiko Sode\u2019s Arresting Romance \u2018All the Lovers in the Night\u2019"},"content":{"rendered":"
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\n\tFor a film preoccupied with the mechanics of light, Yukiko Sode\u2019s All the Lovers in the Night unfolds mostly in shadow \u2014 in the muted glow of a Tokyo apartment window at sunrise or in empty city streets walked at midnight on a birthday no one else celebrates. Adapted from Mieko Kawakami\u2019s celebrated novel, the Japanese filmmaker\u2019s quietly transfixing fourth feature uses the halting rhythms of a first, awkward romance to pose expansive philosophical questions: how does the self become visible, and how much of what we feel is genuinely our own?<\/p>\n

Premiering in Cannes\u2019 Un Certain Regard sidebar,\u00a0All the\u00a0Lovers\u00a0in the Night<\/em>\u00a0came to Sode by way of her producer, who handed her Kawakami\u2019s book \u2014 her first encounter with this particular novel, despite being a longtime fan of the author\u2019s work.<\/p>\n

\u201cMy interpretation of the book was that it was about light,\u201d Sode tells\u00a0The Hollywood Reporter<\/em>. \u201cAnd of course, as a filmmaker, light being a motif was an irresistible challenge. How could I not make it?\u201d<\/p>\n

The story follows Fuyuko (Yukino Kishii), a freelance proofreader who lives a near-monastic life of urban anonymity: long days of solitary work in her quiet apartment, occasional outings with her one outgoing colleague, Hijiri (Misato Morita), and a single, annual self-indulgence \u2014 a midnight walk through the city on her birthday. But Fuyuko\u2019s inner life is not nearly as placid as her self-effacing exterior suggests, and the cracks begin to show when she mysteriously takes up the habit of heavy, surreptitious day drinking. The subtle sea change in her life begins to build when she meets Mitsutsuka (Sh\u014dgun<\/em>\u00a0star Tadanobu Asano), a reserved high school physics teacher, at a local culture center, where she\u2019s considering taking a class. He speaks in a gentle, almost cryptic register, responding to her questions about the subject he teaches with gnomic musings on the counterintuitive mechanics of light. A series of hesitant caf\u00e9 meetings ensues \u2014 but even as a genuine connection begins to take shape, each carries secrets they don\u2019t know how to reckon with and reveal.<\/p>\n

Read more \u2018Orange-Flavoured Wedding\u2019 Is All About Family and \u201cHow Emotions Flow Between Its Members,\u201d Says Christophe Honor\u00e9 (Exclusive Cannes Clip)<\/a><\/p>\n

\n\tKawakami \u2014 whose\u00a0All the\u00a0Lovers\u00a0in the Night<\/em>\u00a0was the first Japanese novel shortlisted for the U.S. National Book Critics Circle Award \u2014 granted Sode and her team complete creative freedom, declining to submit notes or requests at any stage. \u201cShe basically said, it\u2019s in your hands,\u201d Sode recalls. The novelist offered just one observation when the two first met to discuss the screenplay: that the book was a decade old and could require at least a little updating for verisimilitude \u2014 thus, Sode inserted a passing reference to AI and its potential impact on the plight of the professional proofreader.<\/p>\n

What she preserved, most of all, was the novel\u2019s philosophical undercurrent. Light, as Mitsutsuka gently expounds, becomes visible only when it strikes against an object. So too, the film suggests, do our deepest selves. \u201cYou have yourself, you have the object of your affection,\u201d Sode says. \u201cBut truly to get close to them \u2014 what does that mean?\u201d Fuyuko, meanwhile, is haunted by a question close to that of any artist: are her thoughts and feelings genuinely her own, or are they merely quotations of things she has already read, already absorbed? Amid her quiet desperation, she justifies her withdrawal from social life by believing that it\u2019s at least a form of authenticity \u2014 call it the Anxiety of Influence as daily living practice.<\/p>\n

Sode says this theme also exhilarated her as she was drafting the screenplay of the adaptation, which came out relatively effortlessly.<\/p>\n

\u201cThis motif also felt so familiar to me as a filmmaker,\u201d she notes. \u201cWhenever you\u2019re shooting a film, you\u2019re not quite sure if you\u2019re drawing on some accumulation of the cinema that came before you, or if you\u2019ve actually struck upon something original.\u201d<\/p>\n

These twin preoccupations \u2014 light and authenticity \u2014 guided Sode\u2019s formal choices for the film. She was adamant about shooting on 16mm, and her producers, budgetary concerns notwithstanding, eventually relented\u00a0after the film\u2019s entire cast and crew joined in her appeals for clearance to use the analog format.
\u201cWhen you shoot on film, you can capture light on physical film as is,\u201d Sode explains, \u201cwhereas if you\u2019re using digital, it might become too washed out, or you lose that quality of feeling that you really see it.\u201d
The 16mm choice also reinforced what she calls the film\u2019s \u201canalog\u201d ethos \u2014 a quality embodied in her proofreader characters, whose finicky, intensive labor sits in contrast to the vacuous convenience of the AI age. Cinematographer Yasuyuki Sasaki, who also shot Kiyoshi Kurosawa\u2019s visually accomplished, Cannes-premiering latest\u00a0Kokurojo: The Samurai and the Prisoner<\/em>, renders Tokyo in painterly half-light: lambent neon, late-afternoon spaces, smudgy city stoplights.<\/p>\n

Sode\u2019s visual strategy also extended to the way her camera translates Fuyuko\u2019s anxious interiority from Kawakami\u2019s\u00a0first-person novel.<\/p>\n

\u201cApart from Mitsutsuka, you see her with other male characters always sitting sideways, or not really sitting face forward \u2014 which, of course, means that she\u2019s holding herself back and not engaging with them 100 percent,\u201d she explains. With Mitsutsuka, the framing across the cut-backs of their conversations gradually tightens and shifts to eye level \u2014 formalizing Fuyuko\u2019s slow opening-up, as she inches toward vulnerability.<\/p>\n

The film\u2019s delicate thematic architecture is anchored by two standout performances from its stars. Kishii \u2014 who broke through internationally as a deaf boxer in Sho Miyake\u2019s Berlinale favorite\u00a0Small, Slow But Steady<\/em>\u00a0\u2014 plays Fuyuko with an exquisite, wary inwardness. Asano, the Japanese arthouse favorite whose recent Golden Globe win for\u00a0Sh\u014dgun<\/em>\u00a0introduced him to broader Western audiences, brings his usual appealing peculiarity to Mitsutsuka, working from a character backstory he constructed on his own. \u201cBoy, was it unexpected,\u201d Sode says of the original story Asano created for Mitsutsuka\u00a0as part of his method. \u201cI\u2019m afraid I really don\u2019t think I should share what it was,\u201d she adds, laughing.<\/p>\n

Threaded through\u00a0All the\u00a0Lovers\u00a0in the Night<\/em>\u00a0is a portrait of a particular contemporary Tokyo type, Sode says \u2014 the solitary thirty- or forty-something urbanite\u00a0who has built a life of emotional self-protection so well fortified that it precludes the usual, natural desires for romance or family-making.<\/p>\n

\u201cThe metropolis allows people to blend in and to disappear within it,\u201d she says. \u201cIf you choose not to associate with anybody and just live your life, that means there\u2019s less possibility that you\u2019ll be hurt. But at the same time, we as people, as humanity, cannot exist without others \u2014 and so there is that yearning, that longing as well.\u201d<\/p>\n

For all the film\u2019s quiet sorrow, Sode insists Fuyuko\u2019s arc resolves into something like grace. Her solitude was always a private mythology of specialness \u2014 and what she trades by the end is self-defense for a more authentic identity.<\/p>\n

\u201cWhether her love has been fruitful or not,\u201d Sode says, \u201cFuyuko, by virtue of having experienced a romance, is able to say she is one of the many, many people around the world who have experienced a great love. So in a way, she\u2019s found\u00a0nakama<\/em>\u00a0\u2014 companionship \u2014 in a community where everybody feels\u00a0a little bit alone.\u201d<\/p>\n

Read more \u2018I F***ing Love Actresses!\u2019 Julianne Moore Gives Feminist Battle Cry at Kering\u2019s Women in Motion Dinner<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Adapted from Mieko Kawakami’s acclaimed novel, this accomplished Un Certain Regard entry co-stars Yukino Kishii as a solitary Tokyo copy editor whose tentative love affair unfolds against philosophical meditations on light and self-determination.<\/p>\n","protected":false},"author":1,"featured_media":136,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[8,13,2],"class_list":["post-137","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-cannes-2026","tag-cannes-film-festival","tag-international"],"yoast_head":"\n\u2018Shogun\u2019 Star Tadanobu Asano Returns to Cannes in Yukiko Sode\u2019s Arresting Romance \u2018All the Lovers in the Night\u2019 - US Property Moves<\/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:\/\/uspropertymoves.com\/?p=137\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Shogun\u2019 Star Tadanobu Asano Returns to Cannes in Yukiko Sode\u2019s Arresting Romance \u2018All the Lovers in the Night\u2019 - 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