Yōichi Higashi

3.1. Debut and Early Works

Higashi's transition into fiction films began with Yasashii Nipponjin (やさしいにっぽん人_{Yasashii Nipponjin}^Japanese), released in 1971 by Higashi Pro, a 118-minute feature that earned him the Directors Guild of Japan New Directors Award. Following this, he directed Nihon Yokai Den Satori (日本妖怪伝・サトリ_{Nihon Yōkai Den Satori}^Japanese) in 1973, a 100-minute film produced by Seirinsha. His third fiction film, Third Base (サード_Sādo^Japanese), released in 1978 as a co-production between Gentosha and ATG and running for 102 minutes, significantly solidified his standing as a film director. Third Base received multiple prestigious honors, including the Kinema Junpo Best One award at the 52nd Kinema Junpo Awards in 1978, the Blue Ribbon Award for Best Film at the 21st Blue Ribbon Awards in 1978, and the Minister of Education's Award for Fine Arts (New Artist Award).

3.2. Major Feature Films

Higashi continued to direct a series of significant feature films that explored various facets of human experience. In 1979, he released Mo hozue wa tsukanai (もう頬づえはつかない_{Mō Hōzue wa Tsukanai}^Japanese), a 113-minute production by Angle and ATG. This film achieved an exceptional audience turnout for an independent film, garnering overwhelming support, particularly among young women. He followed this with Shiki Natsuko (四季・奈津子_{Shiki Natsuko}^Japanese) in 1980, a 120-minute film from Gentosha and Toei, which continued his skillful depiction of women's beauty and lives. Other notable works from this period include Love Letter (1981, Gentosha + Nikkatsu, 80 minutes), Manon (1981, Gentosha, 108 minutes), The Rape (1982, Gentosha + Toei, 100 minutes), Jealousy Game (1982, Gentosha + Nikkatsu, 84 minutes), Second Love (1983, Gentosha + Toei, 103 minutes), Wangan-doro (1985, Gentosha + Tohokushinsha, 104 minutes), and Keshin (化身_Keshin^Japanese) in 1986, a 105-minute Toei production based on Junichi Watanabe's novel. In 1988, he directed Ureshi Hazukashi Monogatari (うれしはずかし物語_{Ureshi Hazukashi Monogatari}^Japanese), a 90-minute Nikkatsu film.

A significant milestone in Higashi's career was the 1992 release of The River with No Bridge (橋のない川_{Hashi no Nai Kawa}^Japanese), a 139-minute film produced by Galleria and Seiyu. Based on Sue Sumii's bestselling novel, which addresses issues of discrimination, the film was a major box office success, attracting over 2 million viewers. For this work, Higashi received the Best Director award at the 17th Hochi Film Awards and the Mainichi Film Award for Best Director in 1992.

In 1996, Higashi directed Village of Dreams (絵の中のぼくの村_{E no Naka no Boku no Mura}^Japanese), a 112-minute film by Siglo, which garnered widespread critical acclaim and numerous awards both domestically and internationally. This included the Minister of Education's Award for Fine Arts, the Silver Bear for an outstanding single achievement at the 46th Berlin International Film Festival, the Japan Film Critics Award for Best Film in 1996, and the Yamaji Fumiko Film Award.

His later works continued to receive international recognition, with Boku no, Ojisan The Crossing (ボクの、おじさん THE CROSSING_{Boku no, Ojisan The Crossing}^Japanese) released in 2000 (Siglo, 116 minutes). Watashi no Guranpa (わたしのグランパ_{Watashi no Guranpa}^Japanese), a 113-minute film from a production committee in 2003, won the Best Asian Film Award at the Montreal World Film Festival. Kaza-ne (風音_Kaza-ne^Japanese), a 106-minute Siglo production in 2004, received the Innovation Award at the same festival. In 2010, Higashi directed Yoigosame tara, uchi ni kaero (酔いがさめたら、うちに帰ろう。_{Yoigosame tara, Uchi ni Kaerō.}^Japanese) (Siglo + VAP + Bitters End, 118 minutes), which earned him the Best Director Award at the 20th Japan Film Critics Award. His most recent film, Dareka no Mokkin (だれかの木琴_{Dareka no Mokkin}^Japanese), was released in 2016 by a production committee and ran for 112 minutes.

3.3. Barrier-Free Cinema and Special Projects

Demonstrating a commitment to inclusivity, Yōichi Higashi has been a pioneer in barrier-free filmmaking. Since 2009, he has actively participated in projects aimed at making films accessible to wider audiences. He created a "barrier-free version" of his acclaimed 1996 film Village of Dreams, which included "sub-audio" for visually impaired individuals and "Japanese subtitles" for those with hearing impairments.

In 2010, Higashi expanded this initiative by producing and releasing the first series of "Erotic Barrier-Free Movies" under the director name "Higashi Yoichi" (東ヨーイチ_{Higashi Yōichi}^Japanese). These films, Nurse Natsuko no Atsui Natsu (ナース奈津子の熱い夏_{Nāsu Natsuko no Atsui Natsu}^Japanese, 68 minutes) and Watashi no Chokyo Nikki (私の調教日記_{Watashi no Chōkyō Nikki}^Japanese, 64 minutes), were released simultaneously with their "regular versions" and featured both sub-audio and subtitles. Shimai Kyōen (姉妹狂艶_{Shimai Kyōen}^Japanese, 64 minutes), released in 2011, marked the third installment in this unique series.

His 2010 film, Yoigosame tara, uchi ni kaero, also saw a "barrier-free version" released concurrently with the standard cut. Notably, a special barrier-free version of this film was produced for Korean audiences, featuring dialogue dubbed into Korean, along with Korean subtitles and commentary. This version was directed by Yang Ik-june, known for his film Breathless.

5.1. Books and Publications

Higashi has authored or contributed to several books, offering insights into his filmmaking philosophy and the broader discourse on cinema:

• The 4 PM Film Book (午後4時の映画の本_{Gogo 4-ji no Eiga no Hon}^Japanese) (Gentosha, 1979), which notably includes the script for his film Third.
• The Passions of Film Art (映画美術の情念_{Eiga Bijutsu no Jōnen}^Japanese) (Little More, 1992), where he served as an interviewer for the author, Akira Naito.
• Talking about 'The River with No Bridge (『橋のない川』を語る_{Hashi no Nai Kawa o Kataru}^Japanese) (National Dowa Education Research Council Secretariat, 1992), which features an interview with Higashi.
• The Deep Connection Between Film and 'Food (映画と「食」の深いつながり_{Eiga to "Shoku" no Fukai Tsunagari}^Japanese) (e-publication, 2024).

5.2. Academic and Educational Roles

From 2009 to 2013, Yōichi Higashi served as a visiting professor at the Kyoto University of Art and Design (京都造形芸術大学_{Kyōto Zōkei Geijutsu Daigaku}^Japanese), within the Department of Film in the Faculty of Art. In this role, he contributed to film education and mentored aspiring filmmakers, sharing his extensive experience and knowledge.

5.3. Other Participations

Higashi's involvement in cinema extends beyond directing and writing, encompassing various other roles in film and media projects:

• Sea of Whaling (鯨捕りの海_{Kujiratori no Umi}^Japanese) (1998, Siglo, 85 minutes), for which he provided the original idea, with Toshiaki Umekawa directing.
• Mitsuhiko Imamori's Satoyama Story (今森光彦の里山物語_{Imamori Mitsuhiko no Satoyama Monogatari}^Japanese) (2000, Tokiwo + NHK Enterprise 21, 50 minutes), where he served as an editor.
• World, Journey of My Heart: Bolivia, My Heart Trembles in the Fatherly Wind (世界・わが心の旅 ボリビア 父なる風に心ふるえて_{Sekai Waga Kokoro no Tabi: Bolivia Chichinaru Kaze ni Kokoro Furue te}^Japanese) (2000, NHK Wakayama, 45 minutes), in which he appeared as himself.
• Where is the Current Location: Film Director Yoichi Higashi (現在地はいづくなりや 映画監督東陽一_{Genzai-chi wa Izukunariya: Eiga Kantoku Higashi Yōichi}^Japanese) (2020, Montage), a documentary directed by Kenichi Kodama, in which Higashi appeared as himself.

6.1. Artistic and Social Impact

Higashi is recognized for his distinctive artistic vision and his engagement with contemporary social issues. His films, particularly those from the late 1970s and 1980s such as Shiki Natsuko, The Rape, and Keshin, are noted for their skillful and nuanced portrayals of women's beauty and lives. Mo hozue wa tsukanai (1979) stands out for its unprecedented success as an independent film, resonating strongly with young women and reflecting a keen understanding of contemporary youth culture.

His adaptation of Sue Sumii's socially significant novel in The River with No Bridge (1992) demonstrates his willingness to tackle sensitive societal themes, such as discrimination, and his ability to translate them into commercially successful and critically acclaimed cinema. A pivotal aspect of Higashi's legacy is his pioneering work in barrier-free cinema. His efforts to create accessible versions of his films, including older works like Village of Dreams, and his groundbreaking "Erotic Barrier-Free Movies," underscore a profound commitment to inclusivity and social progress within the cinematic art form. The production of a Korean-dubbed, barrier-free version of Yoigosame tara, uchi ni kaero further exemplifies his dedication to making cinema accessible across cultural and linguistic barriers, reaching diverse audiences and promoting a more inclusive film experience.

6.2. Recognition and Influence

Higashi's consistent critical acclaim and numerous awards, spanning from his early career with films like Third Base to international recognition for Village of Dreams at the Berlin International Film Festival, solidify his status as a major figure in Japanese cinema. His later successes at the Montreal World Film Festival with Watashi no Guranpa and Kaza-ne, and the Japan Film Critics Award for Yoigosame tara, uchi ni kaero, further underscore his enduring artistic relevance. The Japan Academy Film Prize Chairman's Special Award, received in 2023, serves as a testament to his long and impactful career, recognizing his significant and lasting contributions to the development of Japanese cinema and his influence on subsequent generations of filmmakers.

6.3. Criticism and Controversy

While Yōichi Higashi's career is largely marked by critical success and recognition, his early documentary Okinawa Retto (1969) was noted for having "caused various discussions" upon its release. The specific nature of these discussions is not detailed in available sources, but it suggests that the film generated debate or differing opinions within the critical and public spheres. Beyond this, the provided sources do not detail any other significant criticisms or controversies surrounding Higashi's films or career.