To offer audiences a deeper appreciation of Trophy, on Monday, July 20, Director Son Myong A, Arata Iura, who plays Sanju, and Director of Photography Yutaka Yamazaki visited three theaters—Uplink Kichijoji, Eurospace, and Theatre Shinjuku—for special post-screening events.
At Theatre Shinjuku, a special talk session titled “Let’s Continue the Story Together.” was held, with Hanna, who portrays the protagonist So-hee, and Director of Photography Yutaka Yamazaki making a surprise appearance alongside Director Son and Arata Iura.
Drawing on questions and comments collected through the feedback & question box installed at Theatre Shinjuku as well as the film’s official social media accounts, the guests and audience shared their thoughts and discussed the film together.◆Director Son Myong A and Director of Photography Yutaka Yamazaki: A Remarkable Partnership Across a 49-Year Age Difference
Making a long-awaited appearance at the event was director of photography Yutaka Yamazaki, who crafted the film’s visual world. Yamazaki is one of Japan’s most acclaimed cinematographers, having worked on numerous landmark films by directors including Hirokazu Koreeda and Miwa Nishikawa. Director Son Myong A, who first worked with him during her years as an assistant director, entrusted him with the cinematography for Trophy out of deep respect and confidence. Yamazaki reflected on their collaboration, saying, “Son and I just clicked.” He spoke about how their partnership, despite a 49-year age difference, came to fruition. He also shared that he has worked alongside Arata Iura for many years, beginning with After Life.
Speaking about Yamazaki’s shooting style, Iura said that, ever since the days of shooting on film, Yamazaki has always had an instinct to move the camera right up close to the actors the moment something sparks his creative intuition. He praised the cinematographer’s style, saying, “That wild, beast-like instinct hasn’t changed at all.”
Director Son also shared that her mentor, director Miwa Nishikawa, once told her, “Son, you really made the right choice with your cinematographer.” She reflected that working alongside the legendary cinematographer Yutaka Yamazaki became a major force behind the film’s delicate visual expression.
◆Arata Iura Reflects on the Passionate Discussions on Set
In Trophy, Sangju, So-hee’s father played by Arata Iura, is portrayed as holding Chōsen-seki status, while Miryong, played by Miwako Ichikawa, is a South Korean national. In one scene, Sangju jokingly remarks that there is a “38th Parallel” between the two of them. Director Son Myong A revealed that, during filming, she and cinematographer Yutaka Yamazaki engaged in passionate discussions over where the “38th Parallel” should visually appear within the frame.
Speaking about the phrase “38th Parallel,” Yamazaki explained that it was an extremely symbolic and weighty term for his generation, which was precisely why he felt it needed to be filmed with great care.
Watching the passionate discussions between the first-time feature director and the legendary cinematographer unfold on set, Iura said he was genuinely delighted. He even joked to himself, “They should just keep debating until today’s shoot is over!” (laughs). He recalled that the entire team worked as one, bringing the film to life with great care and passion.
Iura also shared that he had felt the weight of the words “38th Parallel” from the moment he first read the screenplay. Because of that, he searched for an emotional tone that would naturally emerge from the family’s everyday conversations. While consciously trying “not to give the line too much weight,” he reflected that the inherent significance of the words could never be erased, making it essential to carefully build the family’s atmosphere before and after that moment.◆Favorite Scenes, “Why Southern All Stars?” — Questions from the Audience Box
The cast and filmmakers also shared behind-the-scenes stories about the scene in which So-hee and Mirai play with water guns.
Filmed under the intense midsummer heat, cinematographer Yutaka Yamazaki continued following the two with a handheld camera, while Director Son Myong A found it difficult to call “cut.”
When asked about her favorite scene during the Theatre Shinjuku event, Hanna, who plays So-hee, also chose the water-gun scene.
“It was a lot of fun to film, and it’s one of the few scenes where So-hee gets to play like an ordinary middle school student, so it’s one of my favorites.”
Iura also praised the scenes featuring So-hee and Mirai, saying that whenever the two appeared on screen together, there was an exciting feeling that something might happen. He added that their fresh, uncontrived atmosphere symbolized the film itself.◆Not a Distant Story, But One That Resonates with Our Own Lives
An audience member asked about a line spoken by Sacchan, the owner of the dessert shop played by YOU: “I’m not the one who’s only giving. I receive so much from everyone who comes here, too.” Director Son Myong A explained that teachers at Korean schools often work for lower salaries than public school teachers, and that, with government subsidies having been cut, many schools face severe financial difficulties. In some cases, teachers even pay out of their own pockets for school facilities or efforts to recruit new students.
She explained that one of the reasons they continue their work is the sense of fulfillment it brings them, and that the school itself may also become a place where the teachers feel they belong. It was this idea that inspired her to write the line.
Iura added that the line speaks not only to the theme of Korean schools, but also to work, human relationships, and the film as a whole. He described it as “a line that offers a ray of hope.”
Director Son also emphasized that every profession—from cinematographers and actors to countless others—has its own sense of fulfillment that gives people a reason to continue. She expressed her hope that audiences would receive Trophy not as a story about somewhere far away, but as one that resonates with their own lives.
◆Changing the Way We See Korean Dance — Director Son’s Wish Behind the Film
One audience member shared an honest reflection that the film had changed the way they viewed Korean traditional dance.
Referring to the scene in which North Korean children’s dance is mocked, the audience member admitted that they themselves might once have watched similar footage without feeling any discomfort, or even laughed along. Seeing the characters struggle to find words made them feel as though their own unconscious prejudice had been reflected back at them.
They went on to say that, after this realization, the final Korean dance performance looked completely different to them, and even made them feel as though the way they saw the world had changed. Moved by the comment, Director Son replied, “That is exactly how I hoped people would see it.”She added, “I hoped this film would change the way people see Korean dance,” sharing the wish she had carried with her throughout the making of the film.◆Continuing the Story Together with the Audience
Throughout the event, the guests responded to a wide range of questions and comments from the audience, sharing the challenges they faced during filming, the relationships between the cast and crew, and the thoughts and intentions behind the film.
Director Son Myong A also revealed that she has read every review posted on Filmarks and X. She expressed her delight at seeing the film interpreted from a wide variety of perspectives—from comments describing it as “a film about capitalism and socialism” or “a film about the conflict between East and West,” to reflections from an audience member whose job is engraving trophies.
Surrounded by laughter and warm applause, the talk event tour across all three theaters came to a close.
More special events are coming soon!
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