Written by Tanisha Cardozo || Team Allycaral
Japanese director Kei Ishikawa captivated audiences and media at the 56th International Film Festival of India in Goa as he presented his second directorial work, A Pale View of Hills, showcased as part of the festival’s special segment, Country Focus: Japan. The curated selection highlights the richness and evolution of contemporary Japanese cinema, offering an expansive range of genres from intimate dramas to ambitious experimental narratives. Ishikawa expressed his delight at visiting India for the first time and spoke about the profound connection he felt with the novel by Nobel laureate Kazuo Ishiguro, upon which the film is based. He reflected on the difficulty of portraying the emotional landscape of a period he did not live through—post-war Japan—and shared that discovering Ishiguro’s novel gave him the direction and confidence he needed to tell the story authentically.
The film follows a young Japanese-British writer who seeks to uncover the truth of her mother Etsuko’s past in Nagasaki, years after the trauma of her elder daughter’s suicide. Etsuko’s memories drift back to 1952, when she was expecting her first child and formed a complicated bond with Sachiko, a woman determined to leave Japan with her daughter Mariko. The fragments of memory and troubling inconsistencies that emerge as the daughter pieces together her mother’s past form the emotional core of the narrative. Ishikawa explained that he was drawn to the story not only for its connection to the atomic bomb but for its nuanced portrayal of women living through different eras, each navigating loss, change, and identity in deeply personal ways.
He also spoke about his decision to write the screenplay himself and to edit the film, describing editing as the final phase of writing. The film’s multinational production—spanning Japan, the UK, and Poland—brought diverse perspectives on how the story should conclude. British producers leaned toward a more definitive ending, while Polish collaborators preferred a subtler, less explicit resolution. Ishikawa acknowledged that the Japanese viewpoint fell somewhere in between, and he appreciated the collaborative discussions that ultimately shaped what he believes is the most fitting ending for the film. His experience creating A Pale View of Hills reflects both a deep respect for Ishiguro’s literary work and a commitment to exploring the emotional truths that lie beneath memory and silence.
