Ueda Adapts Vertical Series Into Feature

Director Ueda Shinichiro has expanded a vertical short-form series into a theatrical feature titled Earthlings in Love. The film is currently screening in the Nippon Cinema Now section of the 39th Tokyo International Film Festival. Ueda, known for the single-take zombie film One Cut of the Dead, reworked his original social media content for a wider audience.

The story centers on Shinpei, a filmmaker who learns he has young-onset dementia. To preserve his recollections, he sets out to complete a movie he began with friends during his teenage years. The project originally launched as 30 short episodes on social media. Ueda said that strong online reactions prompted the decision to adapt the material for a feature-length theatrical release.

The production process began with the format. Ueda confirmed that the vertical aspect ratio was chosen before the screenplay was written. He described the work as initially conceived for social media platforms. However, he noted that his personal filmmaking style naturally aligns with the structure of feature films.

Ueda drew on personal experiences while developing the narrative. He visited his hometown and spent time with former schoolmates. During conversations about shared past events, he noticed discrepancies in how different people remembered the same moments. Some details had been forgotten entirely by some participants. Ueda used these observations to explore the gap between recorded facts and human memory.

The vertical framing presents specific challenges for group scenes. Ueda explained that the aspect ratio suits individual shots well but restricts the composition of larger ensembles. He intentionally used the narrow frame to withhold information from the viewer. He later revealed these details from different angles. This technique also reflects the symptoms of dementia, which can limit a patient's field of vision.

Ueda also serves as the editor for the project. The original social media series consisted of 30 episodes with a total runtime of 76 minutes. The feature film version runs 111 minutes. Ueda explained that editing for social media requires maintaining rapid pacing to prevent viewers from swiping away. In a theater setting, audiences are seated and committed to the experience. This allowed him to slow down the rhythm and focus on acting performances.

To expand the runtime, the team reintroduced footage and dialogue that was cut from the online version. They also conducted additional shooting sessions. Ueda removed several cliffhanger scenes from the social media cut. Those endings were designed to encourage viewers to return the next day, a strategy unnecessary for a continuous theatrical film.

Ueda compared the production to his previous works, including One Cut of the Dead and Special Actors. He stated that his directorial approach remained consistent despite the change in aspect ratio. He observed that actors in short vertical dramas often overact to compensate for the format. His cast, however, had feature film experience. Their performances maintained the quality expected in a traditional movie.

Ueda has produced several microdramas prior to this project. He highlighted the speed of viewer feedback in the digital space. He described a workflow where an idea could be developed in the morning, shot during the day, and released by evening. This contrasts with feature films, which require at least 12 months of planning before reaching theaters.

Regarding the future of cinema, Ueda believes both vertical shorts and theatrical releases will continue to exist. He expects the market for vertical content to grow. He views the theater as a unique social space. He cited a senior director friend who described the movie theater as a sacred place. In the dark, audiences sit together and listen, creating a ritual that Ueda believes will persist.