The 22nd edition of the New York Asian Film Festival took place last month, with seventy new and classic titles, an exciting selection of shorts, and a diverse slate of celebrated guests from all over Asia and the diaspora. Among said celebrated guests was actor and filmmaker Takumi Saito, proudly introducing the North American premiere of his second directorial feature, the sinister psychological thriller Home Sweet Home.
A household name in Japan, Saito boasts a filmography that includes a number of genre features – the Tokyo native has worked with hypergore legends Noboru Iguchi and Yoshihiro Nishimura in Robogeisha and Vampire Girl vs. Frankenstein Girl respectively. More recently, Saito has starred in all three live-action entries into Hideaki Anno’s revamped kaiju series Shin Japan Heroes Universe (2016’s Shin Godzilla, 2022’s Shin Ultraman and this year’s Shin Kamen Rider), as well as SCREAMBOX’s 2021 remake of the sci-fi horror, Cube. Ahead of Home Sweet Home‘s NYAFF premiere, we got to chat with Saito//
Based on Rinko Kamizu’s 2019 novel Sweet My Home, Home Sweet Home follows young couple Kenji (Tokyo Ghoul‘s Masataka Kubota) and Hitomi Kiyosawa (Misako Renbutsu) who have just moved into a fancy new home full of state-of-the-art technology and smart architectural features all designed to bless any family with the perfect life. However, as the pair begin to notice strange happenings around the house, they are forced to reckon with the idea that they might not be the only beings enjoying the luxurious abode.
Home Sweet Home takes the place we are most comfortable and twists it into a place of horror – were there any real life incidents or occurrences that inspired you when developing the original story?
Takumi Saitoh: I was completely willing to play the role of director for producers Yosuke Nakamura and Satoshi Akagi, who came up with the idea of having me direct this original work, which was something I had never thought of before. Immediately after I was approached by them, I spent a lot of time alone at home due to the pandemic, and it was significant that I was able to experience that environment. When Japan declared a state of emergency [in 2020], I strongly felt the inescapable horror of domestic violence and other horrific news that surrounded my home, which was supposed to be a sanctuary. I believe I was able to imbue the film with such elements.
With such a vast filmography, I’m curious to know how muchyour history and experience as an actor influences your directorial style and technique?
TS: I’ve experienced how various directors create their workplaces, and I feel that the personalities of the director and lead actors are related to the atmosphere on the set. I also learned how important it is to have a collaborative crew, including the director of photography, gaffer, production designer, sound recordist and editor, hair and makeup, costumes, props, and producing team. So I play the role of director with as calm a mind as possible.
From Ring‘s cursed videotape to One Missed Call‘s take on a killer ringtone, mistrust of technology has always been a key feature of Japanese horror cinema. Was that an idea that came into play during the development of Home Sweet Home, given the advanced tech on display in the Kiyosawa house?
TS: Home Sweet Home is a story that points to technology, but was filmed almost entirely in an analog manner. While it’s true that the history of cinema has been accompanied by the evolution of technology, there is a great fear about the current situation in which we filmmakers find ourselves, in with AI could make it unnecessary for humans to be involved in making entertainment.
Stylistically, even thought it’s only a second feature, Home Sweet Home has a cinematic maturity that calls to mind the Japanese horror masters; in particular, your use of framing and space conveys an eeriness similar to the works of Kiyoshi Kurosawa. Did any other filmmakers or movies provide inspiration to create the feel of Home Sweet Home?
TS: Akiko Ashizawa, who also worked on Kiyoshi Kurosawa’s films, accepted the position of DP, which was very gratifying to me. I was greatly influenced by Kiyoshi Kurosawa’s works. I also studied many Japanese works, including TV programs, that depict the “humidity” that inhabits buildings. At the same time, I was also inspired by Lorcan Finnegan’s Vivarium and the series Servant in terms of new suspense and horror creations.
Masataka Kubota gives a really wonderful performance as Kenji – as audiences will find out, he is a flawed protagonist but we still root for him because of a deep sense of realism he manages to convey. How did you as a director help to bring this nuanced performance out?
TS: Masataka Kubota himself was the lifeline of this film, not just because of his good looks, but because of his layers of radiance. If the audience completely dislikes the main character played by Mr. Kubota, the film loses its power, so casting him was my first condition for accepting the director’s job, rather than any detailed direction. As for the rest of the cast, they were all wonderful actors that I, as an everyday actor, could never hope to compete with, and they helped me complete this film!
Finally – without giving away any details – the ending of Home Sweet Home is one of the more disturbing I’ve seen in quite a while. A lot of filmmakers would be too afraid to go there, but you stay true to your story, which I very much respect. Was there ever a moment where you second guessed taking that risk?
TS: The original story was written by Ms. Rinko Kamizu, and there were many gruesome descriptions that could only be depicted in a story written in words. However, I didn’t want to just not depict the horrific scenes in the live-action film. I chose to first depict that ending as much as possible, while also pointing to technology, and then I worked with the production committee members to make a precise subtraction. As a result, very little was cut. Personally, I prefer the [type of] horror that can be felt from not overdoing the ending. But I also felt that impressive power shots were necessary for the film. However, those had to be logical shots that were carefully discussed with the cast and crew.
At the time of writing, Home Sweet Home does not yet have an announced wide release date, keep checking back for updates on the thriller as and when we get them!
