In-depth with the Director - Noemie Nakai

Hello Noemie, tell us a little about yourself and your background in film.
I am a French and Japanese filmmaker, who started out as an actor. I quickly became frustrated with having to wait for the phone to ring for auditions just to be able to create, so I decided to shoot a film and cast friends and myself in it. Turns out, I had way more fun behind the camera, and it convinced me to dive into screenwriting and filmmaking.

How did Tears Teacher first come together as a project?
I was doing research for a completely different project and came across Yoshida's work online. I found several articles about the world of crying therapy, but very little visual material. I was so intrigued about how eccentric and yet poignant it could be. So I immediately got on the phone with Yoshida and asked if there was any way we could film him at work... and voila!

You forego any narration or commentary in the film and let Yoshida take centre stage. What influenced the decision to take a more hands-off approach to the documentary?
Funny you ask that - I don't think using narration ever crossed my mind! I normally work in narrative, so I guess it just felt natural to rely on what was happening in front of us, and just let the image and sound speak.

I was also wary of making this film too didactic, and becoming a case in point advocating for crying. I wanted to be less about giving answers, and more about tossing some questions around: What happens when you let yourself feel vulnerable? When you acknowledge that you don’t have it together and are ok with sitting in that uncomfortable space?

Japan is often characterised as a very conservative society and the idea of "saving face" is paramount. How did you go about getting people to open up on film and be comfortable with crying on camera?
Yoshida chose the workshop I'd film with that in mind, and he'd gotten everyone's consent beforehand. I unfortunately didn't get to film any other workshops as the majority of people were -understandably - reluctant to be seen crying.

It's not just a question of being filmed: in Japanese culture, showing sadness or anger in general is considered taboo – an ‘adult’ should be able to suppress her feelings. Most of my Japanese friends are horrified at the idea of talking about mental health or consulting a therapist. Being vulnerable is still very much associated with being 'broken'.

When I attended the workshop, I was surprised at how easily the attendees cried. I realised that the group experience provided the reassurance that feeling vulnerable was not something to be ashamed of; it simply gave them permission to feel. The Japanese are also very group-oriented, and in a society where fitting in is paramount, I think that taking up this small venture in a group also made it less scary.

Did you try the crying therapy yourself?
In all honesty I was too busy filming during the workshop... but I do watch the occasional tearjerker with a tub of ice-cream- my own therapy I guess!

What was the biggest challenge in making this film?
I didn't have a lot of footage, given I was only able to attend one workshop (all the other ones refused to have a camera in the room). I worried the little I had would give a very partial and one-sided outlook on Yoshida's work. I was told I should go back and shoot more, but thankfully I had a fabulous editor who helped me make the most of the little we had.

What projects are coming for you in the future?
I am developing my first feature! Although it's not a documentary, like Tears Teacher it is also a story set in Japan that tackles social issues with a humorous touch. It's a longer and tougher road than making a short film, but I cannot wait for it to be ready for festivals.

Do you have any message for our Melbourne audience?
Melbouuurne! If you had any idea how much it means for us filmmakers that film festivals are still taking place in this crazy, neverending pandemic! I cannot thank you enough for coming to see films and helping us getting them out there. Whether it's in a cinema or at home, as long as our films get to connect with an audience, it makes the whole endeavour worthwhile.

Happy crying to you all!