Filmmaker Mishima Yukiko is showcasing a distinct shift in artistic direction with her feature "Two Cigarettes, Three Nights," which made its debut in competition at the 39th Tokyo International Film Festival. Known for helming serious and dark relationship dramas such as the acclaimed 2017 feature "Dear Etranger," Mishima takes on a nuanced, conversational dynamic in her adaptation of Chihaya Akane’s 2014 novel.
The film centers on Kanna, played by Matsuoka Mayu, an illustrator who finds herself increasingly detached from her mundane live-in boyfriend, portrayed by Inoue Yuki, while simultaneously maintaining an empty physical affair with a cynical married man, played by Nakajima Ayumu. Her routine is disrupted when Haseo, a close friend from her college days portrayed by Narita Ryo, reappears after seven years apart. Despite Haseo's reputation as an unattached pharmaceutical salesman with womanizing tendencies, he maintains a purely platonic dynamic with Kanna, serving once more as her personal confidant.
'Two Cigarettes, Three Nights' Film Details
| Role / Element | Name / Detail |
|---|---|
| Director | Mishima Yukiko |
| Screenwriter | Sawai Kaori |
| Source Material | 2014 novel by Chihaya Akane |
| Lead Character (Kanna) | Matsuoka Mayu |
| Lead Character (Haseo) | Narita Ryo |
| Live-in Boyfriend | Inoue Yuki |
| Married Lover | Nakajima Ayumu |
| Filming Locations | Kyoto, Hiroshima, Toyama Prefecture |
| Festival Section | 39th Tokyo International Film Festival (Competition) |
Visual Staging and the Classical Influence of Ozu Yasujiro
To translate screenwriter Sawai Kaori’s dialogue-heavy script to the screen, Mishima looked closely at the techniques of master director Ozu Yasujiro. A hallmark of Ozu’s visual vocabulary was positioning characters side by side so they look ahead together or move in synchronized fashion rather than facing each other directly during conversations.
Mishima incorporated this exact visual logic throughout the project. The director avoided placing Kanna and Haseo face to face during early segments, instead having them sit next to one another in ramen shops, on public buses, and on trains. Mishima explained that she admires how Ozu captured natural human movement across the rhythm of daily life without frequent cutting, which allowed sweeping thematic narratives to grow out of quiet, personal interactions.
Subverting Tourist Backdrops Through Movement
Filmed on location across Kyoto, Hiroshima, and Toyama Prefecture, the production deliberately avoids typical travel postcard imagery. Rather than focusing on historic temples and blooming cherry blossoms, Mishima frames the two leads wandering along train tracks and riverbanks.
This walking structure represents a conscious departure from Chihaya’s source material. While the original book confines many exchanges to coffee shop interiors, Mishima chose to keep her protagonists moving on foot, inspired by her own past experiences of walking through the night with a close friend to talk through life. In speaking at the Tokyo Midtown festival site, the director noted that location selection should focus on places that bring a dramatic scene to life rather than simply finding conventionally attractive settings.
Navigating Flawed Characters and Comic Timing
While the movie’s opening suggests the beats of a light sex comedy, it gradually reveals complex, sometimes unlikable traits in its protagonists. Both Kanna and Haseo make selfish and abrasive choices. However, Mishima specifically cast Matsuoka and Narita for their comedic rhythm, explaining that a command of comedy is necessary to keep extended dialogue sequences engaging.
Outside of the primary pair, supporting players complicate the central dynamic. A defensive bartender close to Haseo views Kanna as a potential emotional threat, while a cynical former classmate of Kanna openly admits to marital infidelity and offers understanding for Kanna's romantic entanglements. Together, these encounters broaden the narrative canvas.
As the story progresses toward its open-ended conclusion, the focus shifts to how the three days impact Kanna's worldview and personal craft. Leaving behind commercial illustration tasks, she produces an original painting capturing what she uncovered about herself and the broader world during her travels, leaving the final interpretation in the hands of the audience.
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Source: Variety
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