Nairu Yamamoto: The Muse Behind Indie Cinema

The Time I Gained in the Past Called for the Next Chapter

This year, you’ve had an incredible six movie releases, four of which you starred in. Especially in the second half of 2024, films have been released monthly, making it feel like you’ve taken over the theaters. How did such an amazing year come about?

Yamamoto: When you look at it like this, it might seem like everything came together at once, but that’s not the case. The filming schedules were spread out, and each opportunity came through auditions I attended on my own. It was through going to those audition venues and meeting people that these projects came to be. Both ‘Night Drifting’ and ‘A Tale of Winter’ were cast through auditions.

The film ‘SUPER HAPPY FOREVER,’ which is still showing, tells the story of a man revisiting a resort with his best friend to retrace memories of a woman he met five years ago. Yamamoto plays the role of Nagi, the woman. According to director Kohei Igarashi, it was Yoshiaki Miyata, who played the best friend Miyata and had been involved in the project from the planning and script stage, who recommended Yamamoto for the role.

Yamamoto: When Miyata-kun came to see the screening of The Way of Those Who Cannot Run, we happened to sit next to each other at the theater. He told me that he noticed me and my outfit at that time and felt that I embodied the presence of Nagi, the character who is described as someone who would look good in a red hat. That’s how I was invited to join the project.

In Teppei Isobe’s ‘Night Drifting,’ which will be released on November 22 (Friday), the protagonist, Shinpei, is set in his early to mid-twenties and has neither gone to university nor started a job. The director originally envisioned the female character, whom Shinpei meets at the same part-time job, to be about two years older than him. However, when I appeared at the audition, I heard that they decided to raise the age of both the male and female characters.

Yamamoto: Really? I didn’t know that.

It’s amazing that you were able to change the director’s original plan. In Ryoma Kosasa’s film ‘Push Pause,’ you play Shiko, who works as a live-in part-timer at the guesthouse “Koko” in Tokyo.

Yamamoto: Before appearing in Ryukiya Imaizumi’s ‘The Cat Escaped’ in 2020, my main focus was modeling, and I only had small roles in music videos. At that time, I hadn’t yet immersed myself in the film industry. When I worked with Director Kosasa, he told me, “I’m planning to make a film next, and I’d love to work with you then.” I thought, “People say things like that all the time, so it probably won’t happen,” but [laughs] it really did come true. The debut project came to life, and when the script was sent to me, that was the start. But I did audition for the role.

Yamamoto: At the time, it was before I had appeared in ‘The Cat Escaped’, so I didn’t have anything to show as an actor—no prior works for them to see how I performed. Casting someone with no track record as the lead in a feature-length debut is a big leap, and I’m sure the adults involved would have been concerned. That’s why I participated in the audition. After they saw me perform, it seems they felt confident enough to say, “She’ll be fine.”

‘A Tale of Winter,’ releasing in December, features Yuya Matsuura as a struggling screenwriter living in Hirosaki, Aomori. The story unfolds as he guides a visiting graphic designer, played by you, through the snowy streets of Hirosaki for a day—a sort of ‘Roman Holiday,’ set in Hirosaki from the male perspective. How did you come to join this project?

Yamamoto: Director Shunsaku Okuno of ‘A Tale of Winter’ apparently took an interest in me after watching ‘The Cat Escaped.’ I landed that role through an audition, but I think auditions aren’t just about luck, connections, or timing—they’re also influenced by the energy and vision of the directors and staff. The opportunities I encountered back then have led to new ones, creating a chain of connections that shaped my current situation. So when people praise me for the string of releases I have this year and ask, “How does it feel?” I see it as the time I invested in the past paving the way for the opportunities I have now.

The Femme Fatale without the Villain

What’s interesting is that the characters you play are, in a way, femme fatales, as they dramatically change the lives of the men they encounter, but they’re not villains. Whether it’s Nagi in SUPER HAPPY FOREVER, Kasumi in ‘Night Drifting,’ or Oshima in ‘A Tale of Winter,’ they are grounded women who accept the men’s affections without malice. Yet, they still alter their fates dramatically. How do you feel about this recurring role as a catalyst?

Yamamoto: Oh, wow, that’s really insightful—I hadn’t thought of it that way until now (laughs). I’m the type of person who takes a while to step back and view things from a broader perspective. Even when I think about the roles I’ve played, I only analyze them with an outside view after filming has wrapped, saying, “Oh, she was such an interesting character.” I play my characters with my natural tendencies, so when I talk about my work in interviews, it comes from a place close to my personal memory and experience. While acting, I never felt like I was intentionally leading the male characters astray. If anything, the women I portray live with a straightforwardness within the film.

That makes sense! Lately, I’ve been thinking about how I would have loved to see your roles as a woman of the same generation in my thirties. How do you perceive the contemporary aspect you bring to your work?

Yamamoto: It’s somewhat related to what I just said. No matter what I’m playing, my natural self comes through, which, in turn, reflects the times and environment I’m living in. I don’t think I’m particularly good at controlling my emotions, and when I read a script, I focus not just on the character’s setting but on aspects that resonate with me personally and that I want to be conscious of while performing. I don’t intentionally aim for that, but it inevitably comes out in my acting. That said, while there are more films with female leads, the vision of the scriptwriters and directors—who are often of the opposite gender—is still the primary focus.

Yamamoto: I found it interesting when you mentioned that many of the roles I play have a femme fatale position. However, I don’t want to fall into the role of a woman who, through some trigger, just causes a man’s life to take a dark turn, nor do I want to act in a way that makes it seem like that. There are roles where I could choose to play the “bad girl” if I wanted, but right now, I don’t want that. If, after filming, I realize that there may have been some “villainous” elements, that’s fine, but when I first receive a script, I don’t want to automatically label the character as a villain. It’s probably because I focus on aspects that I’m naturally cautious about or interested in, so it doesn’t turn into the portrayal of a “bad woman.”

Editor-in-Chief of a Free Magazine: “Passing on Good Seeds to the Next Generation“

Starting her career as a model, and with an increasing number of acting roles in her late 20s, you also took on the role of editor-in-chief of EA magazine and have been actively sharing your interests. What is your intention behind engaging in real-time, quick responses, and taking the initiative to share your thoughts?

EA magazine is a free magazine founded and edited by Nairu Yamamoto, aiming to create opportunities to think about various social issues and challenges. Past contributors include Kemio, Marika Koizumi, the editor-in-chief of the gal magazine Ane Ageha, and Naritaka Kobukuro, among others.

Yamamoto: I have a desire to pass on positive influences to the younger generation. If I’m in a position where my words or writing can reach as many people as possible, I want to use that influence effectively. It’s not about trying to change society or anything grand, but because I’m very aware of what I lacked when I was younger. I also feel deeply that there were adults and environments that didn’t teach me what I needed at the time.

The more opportunities you have to gain knowledge, meet people who inspire you, and make choices that help you grow, the better—especially the sooner that happens. In that sense, I want to touch on those topics as much as possible. I see it as natural behavior toward younger people. Because I work in a field that involves communication, I’m the type who dislikes the idea of being unable to express myself, so I share what I feel in an authentic way. I want to share that with everyone. It’s not about imposing my opinions; it’s about creating opportunities for conversation. This applies to everyone, regardless of age or gender. I want to spark many “glitches” in everyday life.

Yamamoto: By the way, in ‘SUPER HAPPY FOREVER,’ my character Nagi was someone who created ZINES (small self-published booklets), and during filming, I was actually making my own ZINES and selling them. It wasn’t something I was asked to do—it was something I enjoyed doing on my own—but Director Igarashi incorporated it directly into the movie. I interpret that film as a story about things that disappear and things that still exist, and photos are one of those items, right? I was truly making ZINES, taking photos regularly, and I love vintage clothes, so through my role as Nagi, a part of my own culture is reflected.

You’ve openly mentioned that you grew up in a large apartment complex and had limited exposure to culture. I feel there’s a similarity with the power that Moyoco Anno, who grew up in a suburban housing complex and incorporated that experience into her work, brings.

Yamamoto: Yes, exactly. Where we grew up and the environment we were in are what shape us, so I think it’s more interesting not to ignore those aspects. The past can’t be changed from now on, right? The emotions I felt at the time are unique to me. So, I try to listen to those voices from back then in my everyday life.

Naeru Yamamoto Discusses “Rikya Imaizumi of the East, Teppei Isobe of the West”

This interview is to promote ‘Night Driftingi,’ a film I personally love, so I’d like to ask you about it. I have long thought of the directors of contemporary Japanese romance films as “Rikya Imaizumi of the East, Teppei Isobe of the West,” a catchphrase I came up with on my own. You’re a rare presence who has starred in films by both of them. Only you can speak to their directing styles, so I’d really like to hear your thoughts on that.

Yamamoto: Oh! That’s true. I need to say this, don’t I? (laughs) Yes, the common point between them is that they know how to portray interesting characters. Both Imaizumi and Isobe bring their backgrounds, the scenery they’ve seen, and their personal tastes to the screen, creating a unique and subtle humor. It doesn’t feel like a template; each one brings a distinct, singular atmosphere. In that sense, they are one-of-a-kind directors.

But that doesn’t mean they’re alike. Both are kind, but I think one of Imaizumi’s key themes is “the flaws of being human.” At the same time, he seems to deeply understand the charm of moments spent alone. He also knows why those flaws might not be flaws at all. That’s why the characters in his films come across as endearing. His unique sensibility, which he applies both in writing and filming, remains steadfast on set. I think that consistency is present in all his work.

Yamamoto: Some people who have followed Imaizumi’s work since his indie days might worry that as he takes on more mainstream projects, something might change. But from my perspective, I feel that the core values within Imaizumi haven’t changed, no matter where he is. That’s why I feel happy and reassured every time. As a fan, I’m actually very pleased that Imaizumi is exploring different genres.

As for Isobe, who directed ‘Night Drifting,’ he has a more playful and carefree approach compared to Imaizumi. There’s a sense of humor and self-deprecation unique to people from Osaka, where we laugh together, acknowledging our flaws. But it’s not mocking laughter. Isobe is sentimental and a romantic at heart. On the other hand, Imaizumi, while depicting flaws, doesn’t laugh at them—he’s much more of a realist. I really feel that difference.

In ‘Night Drifting,’ the character Kasumi is a woman who suspects her partner of infidelity and, involving a younger man from her part-time job, spends her nights secretly watching him. As the story unfolds, you can feel her sorrow, realizing that it’s already too late but unable to let go of her obsession with him. She seems to be wandering the night because she doesn’t want it to end.

Yamamoto: I also place great importance on nighttime. The reason I value it so much is that, no matter what I’m doing, the quiet of the town makes me feel like I’m the only one in that space. I love art, so I enjoy looking at art books, reading, and indulging in my own time while staying up late. It’s a time that can’t be taken away by anyone.

Yamamoto: I think Kasumi, the character I played in ‘Night Drifting,’ and Shinpei, played by Arata Kabe, also share the importance of those nighttime moments that can’t be taken away by anyone. After this movie, they may never see each other again, but the time they shared, unique to them, will always exist in their memories. That’s one of the things I love most about this film.

Night Drifting

Release Date: November 22, 2024 (Friday)
Director: Teppei Isobe
Cast: Arata Kabe, Nairu Yamamoto, Naoki Kurozumi, Miru Nagase, Nagiko Tsuji, Mireho Misaki, Katsutoshi Kihara, Takako Hinaga, Mikiji Kawamoto, Riku Tokimitsu, Seina Oya, Hiromi Tatsuhiko, Chika Ogata, and others
Distributor: ABC Libra
Production Year: 2023
Running Time: 116 minutes
Rating: G
Country: Japan

Official Website: http://bellyrollfilm.com/mani/