The film "FUJIKO" stars Yuki Katayama, is planned, produced, and stars MEGUMI, and is based on an original story and directed by Taichi Kimura.

A human drama that captivates with its fast pace.

The movie 'FUJIKO'　
Starring Yuki Katayama
Planning, production, and performance: MEGUMI
Original story and direction by Taichi Kimura

The film "FUJIKO," which opened nationwide on June 5, 2026, is based on the life of director Taichi Kimura's mother and has also garnered attention for its collaboration with the famous Fuji Soba restaurant chain. At the 28th Udine Far East Film Festival, it won two awards, including the top prize, the "Golden Mulberry Award," and was selected as the highest-rated film at the festival. This time, we spoke with lead actress Yuki Katayama, MEGUMI, who planned, produced, and starred in the film, and director Taichi Kimura..

■First of all, what made you decide to turn your mother's story into a movie?

Taichi Kimura: Up until now, I've mostly worked on music videos and commercials, so as I move forward as a feature film director, it was time to introduce "who I am." When I considered making a film with that in mind, I realized I'd never really shown my gratitude to my parents. As this is also the starting point of my career as a film director, I decided to make a story about my mother to express my gratitude to her. It's a story I'd heard since I was little, and I always thought, "Things like this really happen," so I'd always wanted to turn it into a story. And thanks to everyone's help, I was able to make that happen.

■Were there any scenes in particular that moved you emotionally while you were playing the lead role of Fujiko Suganami?

Yuki Katayama: What I felt while playing Fujiko was that, rather than any particular scene, I received something beyond the script from my co-stars. The weight, smell, and cries of the baby really touched me. The innocent appearance and sad face of child actress Yuna Watanabe, and even just her tightly gripping my hand, really moved me. Also, in the scene with my ex-husband, Juri Suwa's hands were trembling the whole time he was acting, and I thought, "I have to be stronger than him." I received something beyond the script from my co-stars, and I had the experience of being helped and pulled along by them. I think 'FUJIKO' was the first time I had such an experience.

■At the stage greeting, you mentioned that you had a conflict with the director. What kind of things did you disagree on?

MEGUMI: As a producer, I felt I should take on the role of being the captain of the ship. I would sometimes ask the director questions about the direction and dialogue, like, "What do you think about this?" Because the director was creating it thinking it was good at the time, friction sometimes arose. I didn't ignore my own feelings of unease, and we discussed it while considering whether it was necessary or unnecessary for the work. I myself didn't have much leeway, and there were times when I had to continue discussions while worrying that the project might fall apart midway, so looking back, there may have been times when I became emotional.

Kimura: Regarding that matter, I don't think it was really a clash. It was more like an exchange of opinions. In terms of clashes, the casting might have been the biggest. As for the direction and dialogue, I had the impression that MEGUMI, as producer, was giving solid opinions. There were times when our opinions clashed, but I think it ultimately led to something good.

■Were there any difficulties or conflicts in depicting a true story?

Kimura: Since it's a story about a mother, I really wanted to include everything. I think that in the first 10 or so drafts, I was perhaps too respectful of the original episodes. Of course, it was because I respected them that I wanted to include everything, but there were many moments when I wondered if that was really good for the film. At first, there were parts that didn't work out, and I think we all felt the difficulty. So, when we thought about it as a team, including the screenwriter, I think things gradually improved once we started to think of the film first and adopted the mindset of "telling a lie as a film." As for the script, MEGUMI and I decided "this will work" about two or three weeks before filming began.

■Please tell us what you focused on when preparing for the role and what makes Fujiko so appealing.

Katayama: Regarding character preparation, from the time I was cast until the script was completed, which was about eight months ago, I received the script each time it was revised. About half of the content was gone from the first script I received to the final version, but because I had read the previous script, I was able to understand "why" the changes were made. To be honest, there wasn't anything particularly special I did to prepare for the role, but what was really important was that I was able to understand what Fujiko said and did by thoroughly reading the script.
I think the appeal of Fujiko's character lies in the way her multifaceted personality is portrayed so well. She tries her best, but when she gets overwhelmed, she might hit her child, or she might get excited when she comes into money. She's a character with these many facets, and I found that to be what makes her so appealing.

■Please tell us if there was anything you kept in mind when promoting your work.

MEGUMI: This was my first time producing something based on my own project, so I went to producer workshops and consulted with various producers as I went along. Problems inevitably arise when creating a work, so a producer I respect taught me that the job of a producer is to "share a positive future" at those times, and I felt that I needed to be careful about that.
Regarding PR, we spoke with someone who is skilled in PR for the film industry. In particular, for the collaboration with "Meidai Fuji Soba," we felt that compatibility with the film was important. When we considered what people would do after watching the movie, we received a lot of feedback saying, "I want to eat soba noodles," so we proposed the collaboration to "Meidai Fuji Soba." The collaboration itself made the news, and I think Fuji Soba was pleased with it, which made us happy too.

■You've previously worked on music videos and commercials. Has that experience been useful in this project?

Kimura: There were some scenes that unfolded at a good tempo in time with the music, so I remember shooting those parts with a feeling similar to a music video. In terms of cuts, I was a little rough with the direction in a good way, and I prioritized the tempo, so that's where it came in handy. However, it is a movie after all, so the main focus was on directing it as a movie. In that respect, it's completely different from a music video.

■Were there any aspects of this work that encouraged you?

Katayama: We filmed "FUJIKO" for about a month, and I think I made sure to get plenty of sleep, eat well, and give it my all during filming. I was often told, "Being the lead must be tough," but I didn't feel it was that difficult. I think I was probably drawing energy from the character of Fujiko myself.

■You are both an actor and a producer. Could you tell us about the differences in how you approach each of these roles?

MEGUMI: The biggest difference is the perspective. As an actor, you have to focus on the role and delve deep into that person, so you have to narrow your perspective more and more. On the other hand, producing requires you to keep an eye on the whole picture and proceed without getting emotionally involved, so you need to have a broad perspective.

■What is the biggest highlight of 'FUJIKO'?

Katayama: My sister saw the movie and said she was "hooked from the first second." I don't think there are many movies that are "cool from the opening." The director has lived in London for 26 years, so he uses music in a way that you wouldn't see from a Japanese person born and raised in Japan. Even the gambling scene and the scene where Fujiko is working at the cafe are all synchronized with the music. That's why I think they fit together so well and make for very satisfying scenes. It's not like a typical Japanese movie, and I think it's a fresh and interesting work.

MEGUMI: There's a line in the film that says, "Just being alive is all I can manage," and in these chaotic times, it's a film where not only Fujiko, but also other "human beings say human things." I think there have been surprisingly few films like that recently. That kind of human drama is the film's greatest feature. There are parts that everyone can empathize with, and I think that's the film's strength.

Kimura: The main highlight is the fast pace. Personally, I wanted to make a film that moves at a good pace, a film that is busy in a good way. There are many scenes and locations, but the running time is not long, and it fits within an hour and a half. However, the pace is not fast at all times. There are slow parts, such as the cafe scene, so there is a sense of ebb and flow. Film enthusiasts and people who make films might find it interesting to look at those aspects.

■Message to young people

Katayama: I believe that people are more likely to approach things positively if they are interested in them. I myself am currently relearning English from scratch, and I've been studying Korean for the past two years. I want everyone to immerse themselves in what they love or what interests them right now.

MEGUMI: We live in an age where information is abundant, and we see many instances where people who fail are harshly criticized, making it easy to become afraid to try something new. However, unless you take risks and do something, you won't have worries or grow. Just like with this project, "FUJIKO," even if you fail, make mistakes, or get criticized by others, ultimately, it's the person who takes action who moves forward. There's no need to be afraid of failure. As you get older, you tend to lose your ability to take action, so I want you to build up your "muscles for taking action" while you can. I think now is the best time in your life to be active in order to become someone who can take on challenges by following their inspiration.

Kimura: This also relates to the message of 'FUJIKO,' but in today's internet society, I think we tend to make decisions based on data rather than action. But I think you can only know what is best for you through the experience you gain by taking action yourself. I think you can only see what suits you and what doesn't after you actually take action. I want you to take lots of action, take lots of challenges, and find out for yourself what is best for you. Also, I want you to face what is in front of you now and do your best so that you have no regrets. As you get older, you have fewer opportunities to learn. I don't want you to think later, "I wish I had done more back then." Even things that you think "I wonder if this will really be useful" can come in handy in unexpected ways once you enter society as an adult. I hope you will absorb what is in front of you well and be able to use it to help society in the future.

Interview with Student Newspaper Online on November 6, 2026, Haruna Shoji, a second-year student at Tokyo University of Pharmacy and Life Sciences

Yurie Watanabe, 3rd year student at Josai International University / Haruna Shoji, 4th year student at Tokyo University of Pharmacy and Life Sciences