Japanese Pink Film Director Explores Life of Korean Independence Activist

Japanese director Sachiko Hamano, a prolific filmmaker with over 300 titles to her name, has recently brought her biographical drama "Fumiko Kaneko" to the Seoul International Women's Film Festival. The film centers on Fumiko Kaneko, a pivotal figure and companion to Korean independence activist Park Yeol. Hamano, who began her career in the pink film genre in 1971, expressed her satisfaction that audiences recognized Kaneko, a name less familiar in Japan than in Korea following the success of the film "Park Yeol."

“

I was disappointed that Fumiko Kaneko was only introduced as the partner of the main character Park Yeol in 'Park Yeol.' I started the movie with the thought that I had to properly inform people about this person's extraordinary life and independently developed ideology.

Hamano stated that the film "Park Yeol" "nudged her" to create her own movie about Kaneko. She felt it was a missed opportunity that Kaneko was primarily presented as Park Yeol's partner, believing Kaneko's extraordinary life and independent philosophy deserved a more thorough exploration. The film focuses on the 121 days leading up to Kaneko's death, a period marked by her defiance against the established system and her eventual decision to end her life, based on her autobiography "What Made Me This Way."

Her entry into filmmaking, particularly the pink film industry, was a necessity born from limited opportunities for women in mainstream Japanese cinema. "Only the pink film side was available for work," she explained. Despite the genre's focus on eroticism, it served as a training ground for notable directors. However, Hamano faced significant challenges as a woman in the industry, including pressure to alter her name and instances of harassment, which led her to leave the field temporarily.

“

I felt a sense of kinship with her determination to smash everything in the established system.

These experiences, coupled with a colleague's remark that her aspirations were "feminist," inspired her to establish her own production company, "Tantan Sha," in 1985. There, she began directing pink films that centered women as subjects of desire, not just objects. She credits the solidarity among female actors who resonated with her storytelling and ethical direction as a key reason for her continued passion for the genre.

“

Only the pink film side was available for work.

Hamano transitioned to more conventional films after a realization at the 1997 Tokyo International Women's Film Festival. Presenting Kinuyo Tanaka, a director with six films to her name, Hamano felt her own extensive work was being overlooked. This spurred her to explore other narratives, beginning with "Midori" (1998) about writer Midori Osaki, followed by films like "Lily Festival" (2001) and "Yoshiko and Yuriko" (2011), which explored the lives and loves of female writers. She views the release of "Fumiko Kaneko" this year, marking its centenary, as "throwing a bomb into Japanese society," expressing concern about Japan's current trajectory and admiration for South Korea's societal resistance.

“

Would men get excited watching a pink film made by a woman? The producer arbitrarily removed 'ko' from my real name 'Sachiko,' and I was almost subjected to harsh treatment several times.