“A father going through a midlife crisis, a mother with an empty nest and three children facing issues of work, love, interpersonal relationship and adolescence....” These are the core themes of director Kitamura Toyoharu’s latest work, Q Series: Love of Sandstorm (植劇場──戀愛沙塵暴). Kitamura consistently uses humor and exaggerated visual techniques to easily move between the imaginary and the real. At the same time, he breaks away from his portrayal of love stories in the past with script realistically portraying the social tensions of everyday life. The audience laughs with the recognition of things familiar from their own lives. Watching the story unfold is more than just a window into myriad aspects of life in Taipei – we also see ourselves living in this sprawling metropolis.
Heading Toward the Unknown on a One-Way Ticket – Youth ACTION
Kitamura says that, “Actors should be a kind of weapon, and dialogue is a kind of weapon.” The pursuit of his filmmaking dream began in 1997, when he left his job working at a small theatre in Osaka, Japan to enroll in the Central Academy of Drama in Beijing. He originally planned to study Chinese and drama, with the dream of becoming a fluent Chinese-speaking Japanese actor. But after four months in China the high cost of tuition and living forced him to put his plans on hold, and he had to think how to make a living. Some students from Taiwan suggested that he go to Taiwan to work and save up for his tuition. His plan was to return to Beijing after saving enough money, but his fondness grew for Taiwan due to the culture, living standards, and cost of living being similar to his hometown in Japan, and he has stayed for 20 years.
“That was how I first came to know Taiwan, ” he says. “But, looking back, there had always been Taiwanese people around me. ” His first job in Taipei was at the Mousieur Riuma Hair Salon (中村龍馬髮藝), opened by a former colleague. Before he was able to enter the film industry, his life took many twists and turns. After the hair salon, he worked at a Japanese restaurant, curry restaurant, and Italian restaurant. From National Chengchi University Chinese Language Center (國立政治大學華語文教學中心) to National Taiwan University of Arts (國立台灣藝術大學) and Taipei National University of the Arts (國立台北藝術大學), during his youth, Kitamura spent time in Muzha (木柵), on Yongkang Street (永康街), in the East District (東區), and in Guandu (關渡) with the constant stalls of his Vespa scooter serving as frustrating and unforgettable interludes.
Thinking back on the first year he worked in a Japanese restaurant, Kitamura says he had thought about leaving. “However, a Taiwanese coworker said to me, in a very serious tone, ‘I think you are very talented. Work for one more year. After that, no matter what you do you will be successful.’ “ Perhaps it was the purity of youth that had made this sincere compliment decisive. He decided to stay. At that time, his goal was to be “the first Japanese person to create a Taiwanese film.” A decade-plus later, he had directed two feature films and three television dramas, and taken on countless production and acting jobs. For Kitamura, Taiwan has been a place where dreams come true.
He says that, “When filmed, a script of high score will not be less than 90 points. During post-production good material can be added, along with the musical score, which will definitely not deduct points.” In other words, the likeability, emotions, and laughter that a film offers to an audience come from the exacting execution of the entire team from start to finish. The filming of Love of Sandstorm was a twist of fate that came about by chance. “It is very rare for a director, when looking at a script, to decide at first glance that he/she wants to make a film, ” says Kitamura. Wen Yu-Fang (溫郁芳) and Chang Ke-Hsin (張可欣) wrote the realistic, detailed screenplay, which was complemented by director Kitamura’s preposterous, zany methods of expression. The characters were brought to life and introduced to the audience through the camera lens making the story come to life and easier to resonate with audiences. “When I read the script, I wondered if someone had told the screenwriters about my life,” says Kitamura with a smile. Sometimes, the absurd reveals life’s truths.
From Being on His Own to Heading an Extended Family
In 2010 Kitamura’s parents came to Taiwan and opened a Japanese restaurant, naming it Kitamurake (北村家; “Kitamura Family”). His father had 40 years of experience as a Japanese-cuisine chef, and in Taipei has recreated the tastes of the Kitamura family, living up to the name perfectly. Three generations of this family now have roots in this land. Kitamura has hired a teacher to give his parents weekly Chinese lessons every week – though with little effect. This inability to communicate has led to some very interesting situations. Not knowing whether to laugh or cry, Kitamura says that, “My mother once took a taxi, wanting to go to Tonghua Street (通化街). The driver heard Tonghe Street (通河街), and drove all the way to the Shilin (士林) area. My father once bought a helmet imported from Italy that was more expensive than his bicycle, and was scolded by me and my mother.” His parents at first depended on him to take them around, but in the past few years have started to explore Taipei on their own. “Taipei’s Metro and buses are very convenient, and it’s more interesting for them if they go on their own, ” he says. They like to use the Taipei Metro for food explorations, mango shaved ice and xiaolongbao their favorites. They have also not missed out on Beitou Park (北投公園) during the Pokemon Go craze.
When he was a student, Kitamura liked to photograph in the Wanhua area, fascinated with the city’s old and traditional street scenes. Today, the father of a son and a daughter, on weekends he racks his brain in an attempt to satisfy their demands. The East District, Beitou, Yangmingshan, Dadaocheng, and Tonghua Street – his family has visited every corner of Taipei. Already a director, an actor, an izakaya owner, and father of two, next year Kitamura will take on another identity as he attempts to use Chinese to write about his experiences in Taiwan over the last 20 years. He spent his first 10 years working on making his dream a reality, and over the next 10 Kitamura went from living on his own to being part of an extended family of six. What will the third decade bring? He says that, “I have not yet had my fill of romantic comedies.” Since he is steadfast to continue on living out his cinema dreams, we’ll just have to wait and see what comes next!
