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Farda - Tomorrow - TABINO TOCHUDE (2007) |
Iran / Japan
Persian / Japanese
Comedy | Drama
PlotSetsuo Nakayama's Farda is an unusual fish-out-of-water story. Japanese businessman Izava (Kai Shishido) works for an auto manufacturer. Izava is saddened by the death of a man who ran a plant that Izava was ordered to close. Murata had a dying wish to see one of his workers get a large payment. Izava is asked to deliver the money.
He travels to Iran. Although he continues to have trouble finding his prey, Izava befriends locals even though he is often unable to communicate verbally. Farda was screened at the Montreal World Film Festival. (~ Perry Seibert, All Movie Guide)
- Osman Mohammadparast
- Kai Shishido
- Akiko Oshidary
- Mehdi Ghoudarzi
CreditMasaya Nakamura - Executive Producer; Alireza Shojanoori - Producer; Naota Saurokawa - Producer; Setsuo Nakayama - Director; Yoshi Yokota - Screenwriter; Tadashi Furuyama - Cinematographer; Shahram Golparian - Composer (Music Score); Ahmad B. - Production Designer; Toshiharu Aida - Production Designer; Mosud Behnam - Sound/Sound Designer
>>Setsuo Nakayama (Director)
Four years ago at this festival, an Iranian producer said to me, "Would you like to make a film in Iran?" This first co-production between Iran and Japan started that day. The film was almost all shot in the desert during my 40-day stay in Iran last year. Every time I asked those Iranians who had been to Japan how they found us, their answer was always same, "People were kind and nice," but I was sure they experienced some really offensive situations. My impression of Iranian people is kind, generous, and calm.
I actually visited Iran the previous year with the screenwriter to look for some good stories. I was then introduced to Mr. Osman through the producer. He is a singer-songwriter and a player of an instrument called Dotar. He is so popular that his concerts always attract a full house. He told me he was setting up a voluntary school with some people. I reacted, "You're old now. You might just as well use the money for yourself," but he answered, "I'm doing moderately, so it's all right." That word, moderate, made me so impressed that I tried to learn that kind of way of living from Iranian people. Based on this idea, the story has taken shape depicting the exchange between Mr. Osman and a young Japanese businessman of a big firm.
The script described that in the last scene the protagonist and an Iranian who has been found after a long search are pleased to embrace each other at their reunion. However, I dared not to put in that scene to leave it to your imagination. I believe thinking is important when you see films.
>>Kai Shishido (Leading Actor)
When I first met director Abbas Kiarostami, the supervisor of the film, he all of a sudden asked me to sing a song. I hesitated at this unexpected request, but seeing Mr. Osman, "Grandfather's Clock" just came up in my mind, and then I sang the song.
In the film, I was actually supposed to sing a song called "Desert in the Moonlight" in the script, but I asked the director if I could sing "Grandfather's Clock" instead, and the director answered, "As you please." So, I sang the tune again. I feel happy to have been involved in this film.
>>Mehdi Goudarzi (Supporting Actor)
I worked in Japan from 1991 for six years. Taking advantage of this film, I wanted to show everything good of Iran to Japanese people. Iran has been a crossing of the world from ancient times where so many people passed. Therefore, the culture that we help people coming from abroad still remains today.
Selected filmography of Setsuo Nakayama
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