Ainu Puri Director Takeshi Fukunaga talks about raising Ainu awareness

as general At the Emmy Awards at the Peacock Theater in Los Angeles in September, Japanese director Takeshi Fukunaga was basking in the glory of a record 18 wins in a small village in Hokkaido, covered in mud and sweat. He and a small crew were there to film a bear ceremony by the indigenous Ainu people of Japan’s northernmost island, the first time it had been performed in decades.

Fukunaga plans to use the footage in a short film as a follow-up to his documentary Ainupuri (Ainu way) is screening at this year’s Tokyo International Film Festival. Both the documentary and the short were a far cry from the big budgets and large-scale productions he experienced at FX. general and Max’s vice president tokyo as the only Japanese-born director to direct episodes of both critically acclaimed series. Fukunaga seems to have essentially no friction between the two worlds, appreciating what each brings to the table.

“Indie filmmaking has always felt like home to me,” Fukunaga told hollywood reporter Interviewed during the Tokyo Film Festival. “It’s more freeing and I’m closer to the cast and crew.”

But he admits that his experience on tentpole projects “kind of improved my skills as a director,” and that the financial rewards have allowed him to pursue projects he’s passionate about and return to his roots. This new documentary is such a labor of love.

“I was born and raised in Hokkaido, but never really had the opportunity to get to know the Ainu people. Even though there were Ainu children in the class, we didn’t know how to talk about it,” Fukunaga explains.

While studying filmmaking in the United States, Fukunaga realized that almost everyone knew about the plight of Native Americans, while Japanese people had far less awareness of the plight of the Ainu people, the indigenous people who live in northern Japan. Fukunaga felt a “sense of shame” and decided to address the issue through film in the best way he knew how.

The Ainu story is poignantly reminiscent of stories of indigenous people elsewhere: lost lands, languages, cultures and rights. “Indigenous people around the world are probably the biggest victims of the capitalist system,” Fukunaga said.

Ainupuri It doesn’t shy away from these realities, but it’s filled with humanity and humor, thanks in large part to the involvement of Shigeki Amanai, his family, and the local community. Amanai restored traditional Ainu salmon fishing more than a decade ago, a practice that had all but disappeared in modern times, as part of his effort to do what he can to protect and pass on his people’s way of life. But he and his friends aren’t afraid to laugh at themselves when they use plastic instead of handmade materials to catch fish. Amanai’s standard offering to the sacred Ainu fire god is a lit cigarette.

There will inevitably be more serious moments Ainupuri. Amane questioned why he had to get special permission from authorities to fish, a centuries-old practice that began when Japan seized land from its people when it annexed the island in 1869. Japan and Russia are at war over the Kuril Islands north of Hokkaido, where the indigenous Ainu people “are not even included in the discussion.”

Fukunaga’s cinematic journey with the Ainu began with his second feature film, Ainu Mosir (2020), he used locals instead of professional actors.

For many Japanese, the point of contact with Ainu culture is popular manga and anime golden divine power (kamuy is an Ainu spirit, similar to kami in Japan). The live-action version released this year stars Japanese actors playing the Ainu characters. “By international standards, this is unacceptable,” Fukunaga said.

Determined not to romanticize or fetishize his subjects, Fukunaga admits to struggling with the editing process and not always getting the results right.

After filming Amanai and his son performing a sword dance in traditional Ainu costumes typically used for special ceremonies and ceremonies, he decided to cut the scene out of concern that it felt staged. But when Fukunaga showed them the clip, Amane wondered what happened to the dance sequence he particularly liked.

“That moment reminded me that not everything is about stereotypes or authenticity,” Fukunaga reflects. “Sometimes it’s just because it looks cool.”

Amane and his son brought some cool to the Tokyo Film Festival opening ceremony, walking the red carpet in Ainu kimonos in what Fukunaga considered a first for the festival.

“It’s a very special moment,” he added with a proud smile.