Every few years, a new voice emerges in Japanese cinema that completely rewrites the rules of storytelling. This year, that voice belongs to Yukari SAKAMOTO. Her breakout feature film, White Flowers and Fruits (Shiro no Kajitsu), is an atmospheric work that turns a tragic school mystery into a beautiful, sensory meditation on lost innocence. Driven by breakout performances from its young cast, the film balances a subtle supernatural edge with a deeply moving look at human connection.
In this exclusive interview, INSTYLEASIA goes behind the lens with the director to discuss her inspiration, the unique challenges of filming in a secluded setting, and why she believes the film’s haunting themes are resonating so deeply with global audiences.
INSTYLEASIA: What is the main reason you decided to make this film?
Sakamoto: First of all, I started by settling on a core theme, and from there, I began to think about what we could uniquely achieve through filmmaking during the pandemic. That was when I decided to create this story about schoolgirls and the heavy reality of suicide.
Ultimately, because of the timing and everything happening in the world, the creation of this film was driven much more by my raw instincts and emotions rather than a calculated intellectual plan.
INSTYLEASIA: Did you formulate and create this film during the height of the pandemic?
Sakamoto: Yes, it was around 2020 to 2021, during the time when everyone was strictly required to stay at home. During those long days of isolation, I spent most of my time reflecting and developing these ideas entirely by myself at home.
INSTYLEASIA: When we look at your body of work, how would you define your unique directorial and filming style?
Sakamoto: For me, it is entirely about how I relate to the characters and the actors. I am not the type of director who controls actors directly by commanding them to "do this" or "do that."
Making direct demands on set is just not my style. Instead, I believe actors must think for themselves and discover how to act based on what they truly feel from within that character. That is the authentic way I want to capture them on film. To help them understand the environment, I foster flat, open communication and guide them on how to genuinely connect with the character's heart throughout the filmmaking process.
INSTYLEASIA: In your opinion as a director, looking back at your career progression, what would you say was the most significant turning point for you?
Sakamoto: When I first started, I realized that getting an original story off the ground in Japan—especially one with such a catastrophic and intense turn of events—is incredibly difficult. Because of that challenge, I decided to submit my film proposal to a competition. It was through that competition that I met my producer, which I truly believe was the biggest and most defining turning point for my career.
INSTYLEASIA: Where were the primary filming locations, and what made you choose those specific places?
Sakamoto: We shot mainly in two locations that are not very far from Tokyo. For the first spot, we had a wonderful cooperation with the local film commission. The location itself has a very natural and organic look, which perfectly mirrors the internal feelings and emotional states of the girls in the film. The fact that it looks so authentic and is also conveniently close to Tokyo made it the absolute perfect place for us.
INSTYLEASIA: Could you please tell us what led you to cast the main character for this film?
Sakamoto: The protagonist, Anna, is played by Miro, whom I discovered through our audition process, which included private interviews and script readings. What made me choose her was actually the fact that she had absolutely no prior acting experience. When I tested her resolve by asking, "Would it be okay if we gave this role to someone else?" she confidently replied, "No, I want to do this and take on the challenge." That response connected directly to her raw emotions, which made me realize she could truly pull it off. She also possesses a powerful screen presence. Since Anna is a character who expresses herself through her expressions and presence rather than words, Miro's deep emotional intensity made her the perfect match for the role.
INSTYLEASIA: What inspired you to combine the concepts of spirits, Butoh dance, and suicide? Suicide rates in Japan are tragically high and globally recognized, and Butoh is famously known as a powerful, avant-garde form of Japanese theatrical dance.
Sakamoto: Naturally, the tragic issue of suicide ties directly into the concept of ghosts and spirits, which is something I wanted to explore with creative confidence. It also comes down to our cultural perspective; as Asians, we share a unique attitude and deep emotional connection toward those who have passed away. In that sense, suicide and spirits connect very organically.
As for Butoh, it is far more than just a dance technique—it is a profound way to express the very core of human existence. That is what drew me to it. In this film, finding a way to convey what simply cannot be expressed through spoken words was absolutely vital. I realized that Butoh dance could beautifully articulate those unspoken depths, serving as the perfect third element to bridge the entire story together.
INSTYLEASIA: How did you want to present the concept of Japanese ghosts to an international audience?
Sakamoto: Generally, outside of Japan and the Asian region, ghosts are often perceived as purely terrifying entities that people want to escape from. However, in our culture, if the spirit belongs to someone we deeply loved, there is a profound desire to meet them again and even coexist with them. I really wanted to present this specific emotional perspective to audiences outside of Asia and showcase this side of our culture. I would be incredibly happy if international viewers could connect with and understand that sentiment
INSTYLEASIA: What is your personal favorite scene in this film?
Sakamoto: It is the scene inside the car where the protagonist, Anna, and her family are about to leave. There is a beautiful contrast and separation between the worlds of the adults and the children in that moment. Yet, they are all enclosed together, sharing the exact same view and looking out at the same thing. I think it represents a truly profound and meaningful moment for them as a family, and that is why it is my absolute favorite scene.
INSTYLEASIA: What message do you hope to convey to the audiences who watch this film?
Sakamoto: I really wanted to challenge myself by diving into stories that cannot be easily expressed through words, and exploring those parts of life that are incredibly difficult to fully comprehend. In today's world, there are already so many movies that are straightforward and easy to understand. Through this film, I want people to experience and realize that there are many profound things in this world that defy verbal explanation and remain beautifully complex.
INSTYLEASIA: What can you tell us about your next project?
Sakamoto: Since this film just made its world premiere at the Tokyo International Film Festival, and the official theatrical release is set for December 2025, we are still at the very beginning of our journey.
Right now, we really need to wait and see the initial audience response and reception before moving forward. Because of that, we haven’t planned the details of our next project just yet. For now, I will just continue to do my absolute best! (Laughs)
INSTYLEASIA: What kind of film genres do you personally enjoy the most?
Sakamoto: I am genuinely drawn to the same genre as this film. I love stories that carry this specific kind of atmospheric and deep, emotional tone.
INSTYLEASIA: Do you have any plans or aspirations to work on a project with an overseas production? For instance, collaborating with international crews, filming in foreign locations, or working with overseas actors and directors?
Sakamoto: In terms of locations, I would love to collaborate with an Asian production team in the future. I have also heard a lot about how post-production workflows abroad are quite different from those in Japan. For my next step, I would really like to do the actual filming here in Japan, but try handling the entire post-production process in collaboration with an overseas team to see what we can create together.
INSTYLEASIA: What specific aspects of post-production are you most interested in exploring? Is it sound design, color grading, or editing?
Sakamoto: I am eager to collaborate across all of those areas—color grading, sound, and editing. I have heard that international post-production teams are incredibly creative and bring a wealth of fresh ideas to the table, which differs quite a bit from the traditional approach here in Japan. I really want to tap into that innovative energy by partnering with an overseas post-production team to see how they can elevate those elements in my work.
INSTYLEASIA: Are there any specific directors or actors you dream of collaborating with in the future?
Sakamoto: Frankly, I haven’t given that much thought yet, so I don't have a specific list of names in mind. However, because I deeply value and love the process of communication, my main goal is to challenge myself by collaborating with anyone who shares that same passion for open and meaningful communication on a project.
INSTYLEASIA: Ultimately, what is the core message you want to communicate to the audience who watches your work?
Sakamoto: When it comes to suicide, the tragic decision is often triggered by external factors like gossip and social pressure. However, it goes much deeper than just the act of suicide itself; it is about the hidden, internal emotional struggles of each individual—struggles that other people around them might not fully understand. Through this film, I want the audience to become deeply aware of that invisible pain and realize how crucial it is to recognize the feelings of others.
Wrapping up our conversation with Yukari Sakamoto, it becomes beautifully clear that White Flowers and Fruits (Shiro no Kajitsu) is much more than a cinematic mystery—it is a mirror held up to the invisible, fragile corners of the human heart. Through the haunting movements of Butoh dance and a courageous exploration of unspoken grief, Sakamoto invites us not just to watch, but to truly feel, listen, and understand the silent struggles around us. As this masterpiece prepares to touch hearts globally after its grand premiere at the Tokyo International Film Festival, one thing is certain: you will leave the theater seeing the world, and the people in it, a little bit differently.
Keep an eye out for its theatrical release in December 2025, this is an emotional journey you won't want to miss.
Text: INSTYLEASIA
Images: ©TIFFJP
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