Remembering Every Night
Original Title: Subete no Yoru wo Omoidasu
JAPAN | 2022 | Drama | 116min
Director: Yui Kiyohara
Screenplay: Yui Kiyohara
Cinematography: Yukiko Iioka
Editing: Azusa Yamazaki
Music: Jon no son
Sound Design: Young Chang Hwang
Production Design: Shinpei Inoue
Costumes: Kei Taguchi
Make-Up: Rie Ooya
Assistant Director: Satoshi Noboriyama
Production Manager: Atsuko Senda
Producer: Mayumi Amano
Starring: Kumi Hyodo, Minami Ohba, Ai Mikami, Guama Uchida, Tadashi Okuno, Shintaro Yuya, Mizuho Nojima
PFF PARTNERS (Pia/HoriPro Inc./NIKKATSU) /PFF General Incorporated Association
A story of three women, weaved in the "Tama New Town" suburbs of Tokyo, opened in 1971 as the country's largest-ever residential housing project. One person's precious memory resonates through one day in the life of another.
73rd Berlinale Forum Section
Pia Film Festival (PFF) 2022
“Over two years ago, in the early days of the COVID-19 pandemic when the first state of emergency declaration was enacted, I lived life at home for the most part. When I did venture out, I didn’t use trains and instead rode my bicycle everywhere. A visit to a friend that was normally a 10-minute train ride now took closer to an hour. But it wasn’t only a matter of extended time—I also experienced completely new scenery along the way. This distance brought about various emotions, feeling unable to meet a person who’s too far away, or the sense of separation even if you do meet them. Spending my days wondering about the lengths I had to travel to meet someone inspired the idea for this film.”
The above paragraph was written as the opening thoughts of the statement for my previous film project, which was supposed to be shot last year. Due to various circumstances, filming was postponed, but the sentiments were incorporated in the fresh start of Remembering Every Night. My experience of “distance” took on a new form as the basis of this film, so I felt the text was worth quoting here.
The protagonists of Remembering Every Night are three women in different stages of their lives—their 20s, 30s, and 40s. They live in a satellite city of Tokyo known as Tama New Town. Unlike the women of the past, the three protagonists are not aiming to build the community in solidarity. They’re each burdened with their own worries and feelings of isolation. Throughout the day they run into some people by chance, wait for others, and aren’t able to meet the ones they wanted to. Although they live in close proximity, they do not know each other. However, they recognize each other’s movements through the district, and the vestiges of their accumulated time spent leads to small transformations. I wondered if I could make a film where the fragments of the three women’s days resonate with each other.
To the outside world the three women may seem isolated, but by walking, encountering others and reflecting on the things important to themselves, they contemplate the distances that separate them and what lies between. While walking itself may not decrease these distances, they may become conscious of them for the first time. Against the backdrop of the town’s repetitive terrain, where these women struggle to move forward in their lives, I desire to see what new views and emotions are born.
KIYOHARA Yui was born in Tokyo in 1992. Our House, her feature debut, won the Grand Prize at the Pia Film Festival in 2017 and internationally premiered at the 68th Berlin International Film Festival in the Forum section. It went to the 18th Curitiba International Film Festival and won the Grand prix. It also won the best director of the 2018 Asian New Talent Award in Shanghai.