Japanese PM promises golden age in relations with US during Trump visit

 

 

Japanese PM promises golden age in relations with US during Trump visit

Sanae Takaichi says she will nominate Trump for peace prize as two leaders sign agreement on rare earths

 

 

 


1)
Japan’s new prime minister, Sanae Takaichi, has pledged to realise a “golden age” in relations with the US and to “fundamentally reinforce” her country’s defence posture at the start of a visit by Donald Trump.

The US president, who is in Japan on the second leg of a week-long tour of Asia, and Takaichi quickly signed an agreement laying out a framework to secure the mining and processing of rare earths and other minerals.

2)
The agreement follows China’s recent decision to tighten export controls on the materials, which are crucial for a wide range of products. Trump is scheduled to meet China’s Xi Jinping in South Korea this week for high-stakes talks amid a bruising trade war.

The US and Japan plan to cooperate through use of economic policy and coordinated investment to accelerate development of diversified, liquid and fair markets for critical minerals and rare earths, the White House said in a statement.

3)
The objective of the deal is “to assist both countries in achieving resilience and security of critical minerals and rare earths supply chains”, the statement said.

In a day of profuse mutual praise, Takaichi, who last week became Japan’s first female prime minister, said she would nominate Trump for the Nobel peace prize – an accolade he has coveted since his return to the White House – according to the White House spokesperson Karoline Leavitt. Trump claims to have ended several conflicts, although in some cases experts have played down his role.

4)
“I would like to realise a new golden age of the Japan-US alliance, where both Japan and the United States will become stronger and also more prosperous,” Takaichi told the media before she and Trump met privately.

Takaichi, a conservative who has spoken of her admiration for Margaret Thatcher, supports a more robust Japanese military and has paid her respects at Yasukuni, a shrine in Tokyo that honours Japan’s war dead, including war criminals. She supports restrictions on immigration to Japan and has voiced opposition to calls for the introduction of same-sex marriages, as well as to legal changes that would allow female members of the imperial family to become reigning empresses.

5)
The two leaders had begun their first face-to-face meeting watching a live TV broadcast of the third game in baseball’s World Series, featuring the Japanese star Shohei Ohtani.

Takaichi congratulated Trump on his role in securing ceasefires in Gaza and between Thailand and Cambodia, which have been embroiled in a border dispute.

In remarks open to the media before their summit, they made several references to Japan’s late former prime minister Shinzo Abe, with whom Trump formed a close relationship during his first administration.

6)
Takaichi, an Abe protege who shares his hardline stance against China’s military buildup in the region, thanked Trump for his “enduring friendship” with Abe, who was assassinated in 2022.

Speaking on the day of the first hearing day in the trial of the man accused of killing Abe with a homemade gun, Trump described Abe as a “great friend”, adding that he had “spoken so well” of Takaichi long before she became prime minister.

7)
Takaichi presented Trump with Abe’s putter in a glass case, a golf bag signed by the Japanese major winner Hideki Matsuyama and a set of gold-leaf golf balls, according to Kyodo news agency.

Their talks focused on trade and security, months after Takaichi’s predecessor, Shigeru Ishiba, won tariff concessions from the White House in return for huge Japanese investments in the US economy. Japanese plans to buy more American soya beans, pickup trucks and other products to secure further relief from Trump.

8)
In a statement on Tuesday, the leaders “confirmed their strong commitment to implementing this great deal”, adding that the agreement would “help both countries to strengthen economic security, promote economic growth, and thereby continuously lead to global prosperity”.

Takaichi described the US-Japan security relationship as the “greatest alliance in the world”, adding that Japan was “ready to contribute to world peace and stability”.

 

 

 

 


9)
They also met the families of dozens of Japanese citizens who were abducted by North Korean spies during the cold war, with Trump pledging his support for efforts to determine their fates and, if they are still alive, to have them returned to Japan.

Sakie Yokota, 89, who was among about a dozen relatives who met the leaders, said she hoped Trump would be able to secure the abductees’ release in any future talks with the North Korean leader, Kim Jong-un. Yokota’s then 13-year-old daughter Megumi was snatched from near her home on the Japan Sea coast in 1977 and taken to the North.

10)
“It’s a critical moment,” she said. “We are getting old and this decades-old problem that has been left unresolved is now in the hands of our children.”

Later, onboard the US’s nuclear-powered aircraft carrier the USS George Washington, which is docked at the Yokosuka naval base near Tokyo, Trump delivered an hour-long speech in which he referenced the US’s southern border, inflation and American football, as well as the possibility of deploying “more than the national guard” to “troubled” US cities.

11)
Takaichi thanked the 6,000 sailors onboard for helping defend Japan and the wider region, telling them that Tokyo was ready to “fundamentally reinforce” its defence capabilities and contribute even more proactively to peace and stability in the region”.

Trump, who met Emperor Naruhito for a second time at the Imperial Palace shortly after arriving in Japan on Monday evening, welcomed Japanese orders for US-made military hardware and said the two economies would do “a lot of trade”.

12)
He congratulated Takaichi on becoming Japan’s first female prime minister, describing it as a “big deal”. Trump said it was an honour to meet her so soon after the launch of her administration, predicting, with typical effusiveness, that she would go on to be one of the country’s “greatest prime ministers”.

“Anything I can do to help Japan, we will be there,” Trump said. “You’re going to do a fantastic job, and we’re going to have a fantastic relationship.”

 

 

 

 

Japanese PM promises golden age in relations with US during Trump visit
Sanae Takaichi says she will nominate Trump for peace prize as two leaders sign agreement on rare earths

https://www.theguardian.com/world/2025/oct/28/donald-trump-sanae-takaichi-japan-prime-minister-rare-earths-agreement

 

 

 

A masterpiece that expresses the essence of the "Law of Attraction" ~If I Were Wrapped in Kindness~

 

A masterpiece that expresses the essence of the "Law of Attraction" ~If I Were Wrapped in Kindness~

 

//Summary - Level-B2//

The song If I Were Wrapped in Kindness by Yuming, known from Kiki’s Delivery Service, beautifully expresses the essence of the Law of Attraction. Its lyrics remind adults of the gentle and open-hearted mindset they had as children, when life felt full of miracles. The writer reflects that by viewing everything around us as meaningful “messages,” even difficult moments can become growth opportunities. This idea is connected to both spiritual thinking and Buddhism's concept of the “right view.” Ultimately, the message is simple: listen with an honest and open heart, and rediscover the kindness and wonder that are hidden in everyday life.

 

 

 

A)
Once again, I'd like to talk about music.
This time, I'll discuss Yuming's ‘If I Were Wrapped in Kindness’.
It's also famous as the theme song for the film ‘Kiki's Delivery Service’.

Hearing it as an adult, after learning more about spirituality and the law of attraction, the lyrics feel profound yet straightforward.

I found myself impressed all over again, thinking, ‘It expresses the essence of attraction so beautifully and precisely – it's pure genius.’

B)
‘When I was little, there was a god’
‘Who mysteriously made my dreams come true

‘On mornings I awoke with a gentle heart’
‘Even as an adult, miracles still happen’

C)
I imagine quite a few adults wonder, ‘Why aren't my days as joyful as they were when I was a child?’

For adults carrying that kind of vague unease, these lyrics really hit home. For some, they might even sting.

Yes, it makes you realise what we lose as adults is that “gentle feeling”.

D)
‘Everything that meets the eye is a message’

E)
These lyrics are brilliant too!

As adults, buried in daily busyness, we often fail to see the world around us properly. Days spent chasing after trivial tasks, unaware of the precious messages right before our eyes. For such harried adults, these lyrics really hit home.

If we reframe what we see as ‘messages’, mightn't our daily lives begin to change?

Of course, there will be things we find unpleasant. But even those things are messages ‘necessary for you’. Thinking this way, it might be good to consider the ‘meaning for oneself’ in all matters.

It struck me as akin to spiritual or law-of-attraction thinking, yet I also sensed it resonates with Buddhism's concept of “right view”.

F)
To see things with an honest mind. Not to view them through the lens of one's own convenience. This is the meaning of the term “right view”.

G)
While I found myself pondering these ideas, perhaps it's best not to overcomplicate things – simply listening with an open mind is fine too.
If you're intrigued, do give the lyrics another listen with this in mind!

H)
Lyrics:

When I was small, there was a god who wondrously made dreams come true.
On mornings I awoke with a gentle heart, miracles still happen even as an adult.

If you open the curtains and are enveloped in the quiet gentleness of dappled sunlight,
Surely everything that meets your eyes will become a message for you.

When I was small, there was a god who delivered love every day.
Now is the time to open that precious box, forgotten deep within your heart.

In the garden after the rain, if you find yourself enveloped in the gentle scent of gardenias,
Surely everything you see will become a message for you.

Open the curtains, and if you find yourself enveloped in the quiet tenderness of sunlight filtering through the trees,
Surely everything you see will become a message for you.

 

 

 

 

 

 

A masterpiece that expresses the essence of the "Law of Attraction" ~If I Were Wrapped in Kindness~

https://note.com/miumiubiz/n/n45d6344ab1bb


If I Were Wrapped in Kindness / Tatsuya Ishii x The Gospellers: Yumi Matsutoya's Classic Arrangement Session [Harmonious Classic Session Series 3/4]

https://www.youtube.com/watch?v=XakNyeGLRuA&list=RDXakNyeGLRuA&start_radio=1

 

Yumi Matsutoya - If I Were Wrapped in Kindness (THE LAST WEDNESDAY TOUR 2006〜HERE COMES THE WAVE〜)

https://www.youtube.com/watch?v=LfQ0MVIYFnM&list=RDLfQ0MVIYFnM&start_radio=1

 

If I Were Wrapped in Kindness

https://www.uta-net.com/song/5808/

 

"Kiki's Delivery Service" ~If I Were Wrapped in Kindness~ Yumi Arai Live Sound

https://www.youtube.com/watch?v=p8ELtfdQJAc&list=RDp8ELtfdQJAc&start_radio=1

 

 

 

Acting, honest feelings, and intersecting romantic feelings... We want to share the charm of "Mechanical Marie"!

 

 

Acting, honest feelings, and intersecting romantic feelings... We want to share the charm of "Mechanical Marie"!

 

 

 

//Summary - Level-B2//

“Mechanical Marie” is a manga about Marie, a human disguised as a robot maid, and Arthur, a young heir who trusts only machines. Set in a near-future world of class and technology, the story mixes comedy, action, and bittersweet romance. Their secret-filled relationship—Marie hiding her humanity and Arthur hiding that he knows—creates deep emotional tension. Through battles and heartfelt dialogue, both characters learn about trust, love, and what it means to be human. The manga’s touching quotes and sincere moments prompt readers to reflect on honesty, courage, and emotional growth amid lies and loneliness.

 

 


1)
In everyday life, when you feel down or unmotivated due to hardships or unpleasant experiences, don't you sometimes wish for a little ‘trigger’ to lift your spirits?

When I read manga, I often encounter words that become a ‘trigger’ for self-reflection – moments where I think, ‘I never thought of it that way!’ or ‘That's an interesting perspective!’

2)
This time, I'd like to share some carefully selected quotes from “Marie the Mechanical Girl” – a manga I love so much that, despite owning over 70,000 volumes, I still buy new ones every month, and continue rereading even after its conclusion. 

These are lines that resonated deeply with me, filtered through my own values and experiences!

As of June 2025, the series has concluded in six tankōbon volumes. An anime adaptation was announced in August 2024, with broadcast scheduled to begin in autumn 2025.

3)
Mechanical Marie: Overview & Impressions:

Mechanical Marie depicts the story of Marie, who hides her humanity while serving as a robot maid, and Arthur, the heir to a major conglomerate, who trusts only inanimate objects. 

Amidst an extreme situation where discovery means instant death – a life-or-death gamble – their hearts quietly drift apart yet gradually intertwine. It's a tale woven with intricate gags, spectacular action, and a bittersweet yet comical romantic dynamic.

The premise is compelling: set in a near-future where technology and class are starkly divided, Marie arrives at the estate of Arthur, the notoriously distrustful young head of a conglomerate, as a ‘state-of-the-art android maid’. 

She is an ordinary human being, expressionless and emotionally unreadable, and was once a girl hailed as a legendary fighter.

4)
Having endured betrayal since childhood, Arthur is a hardened misanthrope who trusts only robots. Consequently, he firmly believes Marie—disguised as a robot maid to serve him—is entirely robotic.

Meanwhile, Marie, who cares for Arthur, lives under the constant pressure that revealing her humanity would mean immediate execution. She spends her days battling assassins sent to kill Arthur, one after another.

5)
This premise itself forms the core gag that keeps you laughing throughout the entire series. It's brilliantly blended with awkward romantic elements and exhilarating battle action, so it's personally the best when it makes you chuckle one moment and suddenly gives you butterflies the next.

Arthur constantly expresses affection and fondness towards Marie. Still, it's precisely because she evades him by playing the part of an “inanimate object” that he genuinely believes she's a robot and becomes clingy with her. 

Meanwhile, Marie responds to Arthur using modes like “Lover Mode” or “Nursing Mode”, gradually finding herself drawn to him.

6)
I believe the most extraordinary charm of this work lies in the structure in which Marie and Arthur both harbour secrets while, somewhere deep down, they secretly wish to understand each other. 

Marie doesn't want her humanity to be discovered, and Arthur doesn't want her to know he knows. This double secret gradually intertwines with the budding romantic feelings, simultaneously heightening both tension and affection.

Neither wants to hurt the other, yet revealing the truth would be the ultimate betrayal... This psychological battle, fuelled by the tension of lies and truths constantly brushing past each other without fully exposing themselves, adds a unique depth beyond typical romantic comedies.

7)
Marie's acting within this give-and-take dramatically amplifies the range between comedy and emotion. For instance, when ordered to ‘act like a lover,’ Marie's utterly programmed, doting responses are laugh-out-loud funny. Yet, the moment genuine feelings seep in, that laughter instantly turns bittersweet.

The combat sequences woven into the romance comedy are also a major highlight. As a former fighter, Marie handles each assassin's attack with innovative, overwhelming strength. Her kicks, throws, and hand-to-hand combat are all superhumanly thrilling.

8)
Moreover, with each battle, the backstory of Marie's past connections and the motives of those targeting Arthur's life are gradually revealed. 

Because combat directly propels the drama forward, readers find themselves simultaneously chasing multiple hooks: ‘What kind of setup will they fight under this time?’, ‘Oh no, will Marie's true identity finally be exposed?’, ‘What does Arthur actually know?’.

The emotional shifts of Marie, who feigns a lack of heart, and the humanity of Arthur, who has discarded his own, form the story's core. Marie declares, ‘I am a programme,’ yet she feels anger, joy, and confusion over love. 

Her desperate denial of these human emotions, while possessing them, creates an impression that is both poignant and endearing...

 

 

 

 

 


9)
Meanwhile, Arthur, utterly weary of human betrayal, has come to trust only machines. Yet, through his interactions with Marie, his heart gradually softens. The fact that he himself struggles to accept this change entirely is deeply poignant.

Neither love nor friendship, the relationship built between human and robot constantly poses questions: ‘What is emotion?’, ‘What is trust?’, ‘What is humanity?’ Viewed as a drama woven with fragments of psychology and philosophy, rather than a mere gag or romantic comedy, it leaves a distinct impression.

10)
It carries the hope that the “fake love” blossoming under extreme circumstances might eventually become real. 

It makes you laugh with its gags while seriously making your heart skip a beat, captivates with its action, yet quietly gnaws at your heart – this exquisite balance continues throughout. It keeps you engaged right to the end, your emotions constantly shifting, so you never get bored.

Marie, who serves wholeheartedly while concealing her humanity, and Arthur, who struggles to trust humans yet tries to love a robot. This romantic comedy, traversing every genre, delivers laughter, affection, and tension. If you're interested, I think you'll find it well worth reading!

11)
Mechanical Marie: 10 Memorable Quotes & Relatable Moments:

This article references content from “Mechanical Marie” by Akimoto Aki / Hakusensha.

12)
...Human beings are hideous creatures. They will hurt, take from, and betray others without a second thought, driven solely by their own desires. It is because they have hearts that they have “desire”. Therefore, I possess no emotions. I trust only inorganic matter.

by Arthur Lewis Zetes

13)
This line encapsulates past wounds and profound distrust of humanity, making it rather painful to read.

Arthur's inability to trust humans likely stems not from being particularly cold-hearted, but from having been deeply betrayed by someone in the past. His reasoning that ‘desire exists because we have hearts’ seems to reject humanity outright, yet it also feels like a reflection of his fear of the difficulties and constraints that come with having a heart...

The fact that he can only trust inanimate objects strikes me as a defensive reaction – better not to expect anything at all than to risk being betrayed. It makes one feel a pang of sadness for how he's lived in solitude, unable to trust people.

14)
I believe that no matter how expensive a gift is, it's worthless if there's no thought for the other person behind it. That's why I'm so happy.

By Arthur Lewis Zetes

15)
This line reveals his perspective on the essence of value.

What struck me as profoundly human and sincere was his valuing the thought and feeling behind a gift far more than its mere material worth.

16)
Arthur usually puts on an impassive, cold front, but it’s profoundly moving to see that he possesses such a sensitive heart that understands the true essence of a gift. His words, ‘I’m pleased,’ radiate genuine delight, and I felt this line conveyed his emotional growth — his finally being able to receive someone else’s feelings truly.

17)
Until Marie came along, there was no one I could show my weakness to. So I put on a front, building a false self. ...Even though lies are what I hate most. But now, only the time I spend with Marie is my “true self”.

by Arthur Lewis Zetes

18)
This line feels like it poignantly reveals Arthur's true loneliness...

Precisely because he couldn't show weakness to anyone and couldn't trust people, he'd lived with a persona plastered over with lies. Realising the self-contradiction that he'd become steeped in the very lies he hated most, yet still being able to say ‘only the time I spend with Marie is real’ – I felt this was proof his heart had finally opened its door to someone.

19)
Finding someone who accepts his true feelings, allowing him moments where he needn't put on a brave face, felt profoundly poignant and warm. It made me realise that when people change, it surely begins quietly like this, through the presence of another.

20)
Even if you obtain what you desire through unjust means, can you truly be proud of it? If it's something you genuinely love, doesn't it lose all meaning unless you earn it through your own strength?

by Arthur Lewis Zetes

21)
This line truly embodies an almost obsessive conviction and an attitude that values effort and legitimacy.

Arthur may appear cold and calculating on the surface, but deep down, he possesses an incredibly upright sense of justice that abhors dishonesty and cheating. 

His belief that ‘precisely because it's something you love, you should obtain it through proper means’ is a direct reflection of his affection and conviction. It also reveals a certain severity towards those who cannot do the same.

 

 

 

 

 


22)
The fact that these words could be directed not just at Marie, but at anyone, proves that for him, a “world worthy of belief” truly exists. It was a line that reminded me anew of the nobility in pursuing what one loves with honour and integrity.

23)
Not a machine. Not a programme. Yet you saved me time and again. You stayed by my side, always my ally. That cannot be a lie.

by Arthur Lewis Zetes

24)
This line captures the moment Arthur finally accepted Marie's very existence, doesn't it?

Up until now, he'd claimed he could only trust inanimate objects, yet this line encapsulates the fact that Marie was the very thing that overturned that value system.

25)
Even if Marie was merely “pretending to be a robot”, Arthur himself clearly saw that every single one of her actions contained affection and will. It was a line that made me resolve to trust someone and to believe, and it was truly remarkable.

26)
How could you not have understood my feelings at all, despite me showing you so clearly how much I care for you!? I absolutely won't allow you to disappear. And Marie, you needn't feel guilty about the lies. Because the lies you told were always kind, weren't they? They made me happy from the very start.

by Arthur Lewis Zetes

27)
This line feels saturated with Arthur's emotional outburst, surpassing his limits, and his profound affection for Marie.

These words, where the usually calm and logical man reveals anger, sorrow, and fear, are packed with the despair and desperation felt when thinking ‘I might lose someone.’ I was particularly struck by the phrase ‘the lies you told were kind.’

28)
While lies undermine trust, the perspective that a lie told to protect someone holds meaning, too, conveys a sense of affection. It resonated with me – how sometimes, a lie told for your sake can be a salvation...

29)
I'm poorer than most in expression and emotion, and I've rarely found joy in being with anyone. But the time spent with my master was different... My master isn't someone who should disappear. He is my precious person.

by Marie Evans


30)
This line really conveys Marie's sense of self, her insecurities, and how Arthur became the catalyst for her to break free from that shell...

That belief that she's emotionally stunted, unable to share joy with others... It's something we can all relate to. For Marie, the time spent with Arthur becoming something extraordinary must have felt like a true awakening.

31)
Even without rich expressions or words, the mere fact that ‘there is someone I care about’ changes her world. Her honest feelings and desperate plea not to lose Arthur made this line truly heart-wrenching.

32)
It's true, I'm expressionless, like an emotionless doll. But I have a heart, too. No matter what anyone says, I'll stay by this person's side.

by Marie Evans

33)
I felt this line was Marie's declaration of self-affirmation and resolve.

She'd long agonised over “pretending to be emotionless” and “not being able to show her true heart”, but now she states unequivocally that she “does have a heart”. It conveys her determination to stand up for the person she wants to be near, no matter how others might perceive her.

34)
Even if she appears like a doll, even if others see her as such, her heart is here. Marie affirms her own worth, refusing to entrust it to anyone else, choosing instead to stay by Arthur's side of her own volition. This line conveyed the strength of a person living for love and conviction, and it gave me great courage.

35)
Arthur, you are brilliant and capable of anything. I'm sure you fought those who sought your life alone, even before I came here. But it's precisely because you can be so strong even alone that I want to protect you.

by Marie Evans

36)
This line feels packed with tenderness, agency, and the depth of her affection.

The idea of wanting to protect someone precisely because they are strong, respecting Arthur's solitude and struggles not just by watching over him but by wishing to stand by him through her own strength – it makes you wonder if she's genuinely just a cute heroine?

37)
I believe those who appear strongest are often the most fragile and lonely. Marie realised this, transforming from someone merely to be protected into someone who wants to stand alongside him. 

The words ‘I want to protect you’ carry love, respect, and the pride of a partner. Personally, it was a line that deeply resonated with me.

38)
...There's no way I could give up. But I want to stop lying to Arthur-sama. Because I care for him, because he matters to me, I'll tell him the truth and say goodbye. That's why I didn't come here to flee—I came to stop running away.

By Marie Evans

 

 

 

 

 

39)
This line truly captures Marie's overwhelming sincerity and courage.

Even with her life on the line, she still declares to Arthur, ‘I want to tell you the truth.’ I believe this proves how deeply she truly cares for him. The phrase, ‘I didn't come here to run away, I came to stop running away,’ is incredibly powerful and memorable.

40)
It’s heartwarming to see Marie choose to confront her fears rather than flee from them, driven by the strength of her feelings. This resolve felt like the very moment she transformed from a ‘false robot’ into a ‘real human being’.

41)
Summary:

Did the charm of “Marie the Mechanical” and the words that might prompt self-reflection come across?

Whether you belong to a school, company, organisation, or group, I'd be delighted if you found hints to shift your perspective during times of feeling down, tired, troubled, or even when pushing towards your dreams – when walls appear, and when you overcome them.

That's all for this time. Thank you for reading to the end.

 

 

 

 

 

 

 

Acting, honest feelings, and intersecting romantic feelings... We want to share the charm of "Mechanical Marie"!

https://note.com/dcomic_labo/n/n4de850d7e241

 

TV anime "Mechanical Marie" starts broadcasting in Fall 2025

https://www.youtube.com/watch?v=lFyvbZHVQK4

 

TV anime "Mechanical Marie"

https://mechanicalmarie-anime.com/

 

Mechanical Marie - Wikipedia

https://ja.wikipedia.org/wiki/Mechanical_Marie

 

 

 

 

 

The foreigner issue is finally resolved

 

 

The foreigner issue is finally resolved

//Summary - Level-B2//

The new Prime Minister, Sanae Takaichi—the first woman in Japan’s constitutional history—has formed her cabinet with Kimi Onoda as Minister for Economic Security and foreign policy. Onoda announced stricter management of foreign residents, aiming to ensure safety while avoiding xenophobia. She criticised past administrations, especially Ishiba’s, for poorly handling immigration and allowing system abuse. Public concern over crime, land purchases, and social issues involving foreigners has grown, pushing politics toward a “Japanese first” stance. Takaichi’s promotion of Onoda, supported by the late Shinzo Abe’s legacy, marks a shift toward more controlled and nationally focused governance.

 

 

 

1)
0:00
The foreigner issue is finally resolved. The first female Prime Minister in constitutional history, Prime Minister Sanae Takaichi, launched the First Takaichi Cabinet on 21 October. At its core is Ms Onoda, Minister for Economic Security.

She has simultaneously been entrusted with responsibility for foreign policy – an area politics has hitherto shied away from addressing head-on.
This is no mere post. It signifies nothing less than a fundamental shift in the very stance of politics itself.

2)

0:28
At a press conference, Minister Onoda boldly declared measures to address foreign issues. Please observe.

"Next, regarding the promotion of an orderly coexistence society with foreign nationals. Currently, situations exist where the public feels unease and unfairness due to crimes and nuisance behaviour by some foreign nationals, as well as the inappropriate use of various systems.
While we must not fall into xenophobia, ensuring the safety and security of the public is indispensable for economic growth."

3)

0:57
"We intend to advance comprehensive discussions as a unified government, in close cooperation with relevant administrative bodies, addressing various challenges. These include strict measures against those who disregard rules and a review of institutional policies that currently fail to address the prevailing situation concerning foreigners adequately."

4)

1:15
In this manner, Ms Onoda clearly articulated an approach that confronts real-world problems rather than resorting to platitudes. This statement rests upon a straightforward premise: the fact that the previous administration utterly failed to do this.

This tendency was particularly pronounced under the Ishiba Cabinet. The visa relaxation policy promoted by former Defence Minister Iwaya and others led to a massive influx of foreigners into Japan, without an adequate grasp of the actual situation.

Foreign students were showered with state-funded scholarships, with even their living expenses covered by Japanese taxpayers' money. Despite this, after graduation, they could continue working under an ambiguous “specified activities” status. Their families were also accommodated, effectively making immigration policy a fait accompli.

5)

1:58
Consequently, relaxed driving licence standards led to increased traffic accidents, reports of unpaid medical bills, social insurance premium arrears, and involvement in crime.

In essence, the goal became simply admitting foreigners, completely neglecting proper management and consideration for Japanese citizens.
This was the reality under the previous Ishiba administration.

MP Kimiko Onoda has been at the forefront of criticising this distorted structure.
During the House of Councillors' Accounts Committee in May this year, she pinpointed the core issue: while foreigners were being brought in at an explosive rate, the management system was utterly unable to keep pace. The visa system was being abused under political pressure, undermining public trust.

6)

2:37
She raised this not as an emotional argument, but as a problem of institutional design and implementation.

And now, Ms Onoda has entered the core of the administration. Behind this lies a significant shift in the prevailing current.
Amidst visible issues like land acquisitions by foreigners, deteriorating public safety, and systemic abuse, public opinion has begun shifting towards parties championing “Japanese first”.

The rise of the Sansei-party party symbolises this shift. Within the LDP, unable to ignore this trend any longer, a genuine conservative leader, Sanae Takaichi, has finally emerged and promoted Ms Onoda. This is the substantive political shift unfolding before our eyes.

And another factor we must not forget is the presence of the late former Prime Minister Shinzo Abe. The final words he posted on X the day before his assassination in July 2022 were: ‘Strength to Kimi Onoda, who will defend Japan to the end.’

Three years on, that same Kimi Onoda now holds a key position in government. This is no coincidence.

7)

One could say it embodies Mr Abe's “will”.
The combination of the Takaichi administration and Minister Onoda signifies not a repetition of past failures, but a political reboot that confronts reality and corrects systemic distortions. It marks the first step towards a new politics that questions whose interests the system serves, rather than the binary debate over whether to admit foreigners.

 

 

 

 

8)
Online reactions:
First, please abolish the standard name system. Being half-Japanese, half-American, she has certain advantages.

It finally feels like Japan is moving in a healthy direction. Thank you, Ms Onoda.
When things progress this smoothly, it makes you want to dig deep and ask exactly where the bottlenecks were all along.
Given the possibility of that country targeting her, please ensure Ms Onoda's security is seriously prioritised.

9)

I felt like bowing my head towards the screen, saying, “Please do this”.
At last, it seems we might see politics that actually act on justice, not just talk about it.

The old media will undoubtedly start nitpicking from now on, but I hope you won't be defeated.
Taking concrete action is the key, right? I'm genuinely hopeful.

Right now, seeing the leftists in an uproar is rather satisfying.
Please start by reviewing the work-based training system.
I genuinely believe there are many serious calls for strengthening Ms Onoda's security detail.

10)

4:46
It seems that measures to protect public safety and fairness are finally underway.
My only worry is whether she'll be attacked.
I have nothing but expectations for Ms Onoda.

11)

4:56
I want a society where those who follow the rules don't lose out. That's all I ask.
Seeing this kind of speed actually makes me angry about what the previous administration was doing.
Please use the taxes paid by the Japanese people for the Japanese people. That's only normal.

12)

5:11
I hope this current momentum doesn't just fizzle out.
I want a review of systems and policies to create a more secure society.
Good. I wish they would do more.

13)

5:23
I want them to cut through the politics and money talk decisively. That's the Takaichi style, isn't it?
Prime Minister Takaichi's seriousness is becoming clear. The media's response is just too slow.
Ms Onoda's livestream on Niconico had 25,000 viewers – that's incredible. His social media presence is overwhelming, too.

14)

5:37
I rather think the term “immigration weapon” is quite apt.
I simply want politicians who make our children and grandchildren proud. That's all.
If her appointment as minister was Mr Abe's decision, it gives one pause for thought.

15)

5:50
Ms Onoda seems to be Renho's natural enemy, doesn't she? I'm looking forward to the Diet sessions.
I genuinely have high hopes for this cabinet. Come on, Ms Onoda.
Make the rules crystal clear and transparent as glass.
Ms Onoda, it feels like we've finally got a politician who means business.

What did you think? Please share your opinions in the comments section.

 

 

 

 

The foreigner issue is finally resolved

https://www.youtube.com/watch?v=r0nFkQJ1tE4

 

 

 

 

 

Add info)

Japanese Scenes with 100 Million Views Worldwide
https://www.youtube.com/shorts/FnKIU0cOYWk

The Results of Showing Young People the "Reality of Immigration"
https://www.youtube.com/watch?v=5eIdCKwsK4Q

The Media's Power to Brainwash Elderly People Who Only Watch TV Reveals the State of a City Devastated by Immigrants
https://youtu.be/13Pyk8CTDs8?si=2m6cH4yB440jTNx0

The Most Dangerous Immigrants Are Not Chinese
https://www.youtube.com/watch?v=yjXapei34Mg

Kimi Onoda is Being Targeted
https://www.youtube.com/watch?v=1dgnRAN_0bY

The Burial Issue Spreads to Tokyo
https://www.youtube.com/watch?v=pdAWNqItoEY

The "Unpaid Construction Costs" Issue for the Osaka Expo Still Unresolved...! Subcontractor laments, "Major general contractors ran away from the pavilion construction project."
https://l.smartnews.com/m-6qlHF8oE/8YkwjH

[Unreleased Footage] Charlie Kirk's Final Question for Japan | A Simple Question for Japan
https://youtu.be/zyr4w97TvGs?si=TGvEGYiRl5UE2mN9

Japan has already been "sold."
https://www.youtube.com/watch?v=gmPDRUUKXv4

Japan's Immigration Issues from a British Perspective
https://www.youtube.com/watch?v=x_KwvZSpy2k

 

 

 

 

Mahler (1860-1911) Symphony No. 2 in C minor "Resurrection"

 

Mahler (1860-1911) Symphony No. 2 in C minor "Resurrection"

 

//Summary - Level-B2//

Mahler’s Symphony No. 2 in C minor, “Resurrection”, had a long and complex creation. It began as a symphonic poem called Funeral (1888), later linked to his First Symphony. Over several years, Mahler reworked and expanded the material, struggling to complete a true symphony that could unite its dark, dramatic first movement with a meaningful finale. Influenced by Liszt’s symphonic poems but burdened by Beethoven’s legacy, Mahler hesitated between new and traditional forms. Ultimately, his desire to renew the symphonic form led to the birth of his innovative Resurrection Symphony(1888-1894), marking his emergence as a bold symphonic composer.

 

 


1)
The Composition of the Resurrection Symphony and Beethoven's Wall:

Mahler's Second Symphony, the Resurrection, was completed after a highly complex journey.

First, the prototype for the first movement was completed in the form of the symphonic poem Funeral. The cover of this score bore the title Funeral alongside the words “Symphony in C minor”, but these words “Symphony in C minor” were crossed out with a line.

2)
The completion of this Funeral Poem occurred in September 1888. Immediately afterwards, in October, Mahler took up the post of Music Director at the Royal Hungarian Court Opera in Budapest, embarking on his career as a conductor. 

It is noteworthy that at the time of the funeral poem's completion, Mahler's work, which was destined to become his Symphony No. 1, was already finished. Still, it was not designated a symphony at that stage and was instead called a symphonic poem.

3)
That symphony was performed in Budapest on November 20 1889, under Mahler's baton. In other words, the Funeral March was conceived as one movement of Mahler's First Symphony. 

However, Mahler later abandoned plans to complete the Funeral March as a symphony because he could not compose the subsequent movements.

4)
Amidst these developments, the symphonic poem performed in Budapest under Mahler's baton transformed. Mahler conducted it again in Hamburg on October 27 1893. 

At this stage, the work was titled ‘Tone Poem in Symphonic Form: “The Titan”’. Although bearing the name “The Titan”, it was still not a symphony.

5)
Finally, on June 3 1894, in Weimar, the work was performed as the ‘Symphony “Titan. “(However, this was still the five-movement version, including the “Flower Movement; the four-movement symphony version would come a little later.) 

Of course, Mahler himself conducted. Thus, Mahler's first symphony was finally born, but the “Funeral” movement remained shelved.

6)
It is said that Mahler began composing the other movements, incorporating the ‘Funeral March’ as one of them, during his summer holiday in 1893. 

By the end of 1893, the first four movements, including the ‘Funeral March’, were largely complete. Yet, having reached this point, Mahler faced a significant obstacle.

7)
The first movement, the “Funeral March,” was compelling. The music was dark and solemn. The final movement required a “synthesis” of this world to make it a symphony. 

But here, Mahler reached an impasse. The final movement, meant to bring together the world unfolded in the “Funeral March”, remained unfinished.

The final movement should have synthesised the developments of the preceding movements, thereby completing the symphony as a self-contained world. Yet he could not conceive of how to achieve this.

8)
Beethoven established the symphony, which became the central form of a composer's creative output. It had to be a musical work conveying narrative and philosophical depth. 

This was because people perceived such qualities in Beethoven's symphonies and subsequently demanded them of composers who followed. As mentioned earlier, Mahler hesitated considerably before embarking on symphonic composition.

9)
This hesitation stemmed partly from the overwhelming pressure of composing symphonies in the post-Beethoven era. Another reason was likely that the symphony was regarded as an antiquated genre, while the symphonic poem was seen as a new, pioneering form. 

The symphonic poem form, pioneered by Liszt, imbues music with a stronger narrative quality than the symphony, possessing a more pronounced literary and pictorial character.

10)
This symphonic poem form profoundly influenced Romantic composers, whose yearning for literature was particularly intense. It also served as an escape from composing Beethoven-style symphonies, leading many composers to write symphonic poems rather than symphonies. 

Mahler's initial conception of the “Giant” as a symphonic poem rather than a symphony was a product of this prevailing trend.

11)
However, Mahler's interest seemed to turn towards the symphonic form itself. 

At this stage, the conception of Mahler's works far exceeded the existing symphonic form; consequently, Mahler's symphonies naturally became attempts to renew the symphonic form. This marked the birth of Mahler, the innovator.

12)
Yet matters did not proceed smoothly from the outset. Beethoven's weight bore down upon Mahler. At the very end, he had to conclude the narrative and ideas developed thus far. 

Failure to do so meant his work could not be called a symphony, inheriting Beethoven's legacy. Many pioneers faltered in symphonic composition precisely on this point, and Mahler stumbled here too.

 

 

 

 

 

Mahler (1860-1911) Symphony No. 2 in C minor "Resurrection"

https://www.chibaphil.jp/archive/program-document/mahler-symphony-2/page-2

 

 


Add info No1)

Details for the Los Angeles Philharmonic's Japan Tour conducted by Dudamel have been announced.

https://www.amati-tokyo.com/topics/performance/2503271821.php

Details for the Japan tour conducted by Dudamel and the Los Angeles Philharmonic have been announced.

This will be Dudamel's third and final visit to Japan as Music and Artistic Director, following his performances in 2015 and 2019.

In addition to works by John Adams, a master of American minimalist music, and Mahler works, which have been included in each tour, Dudamel will also perform Stravinsky, Dudamel's speciality. These large-scale orchestral works, representing the pinnacle of orchestral art, showcase the true essence of the American orchestra, boasting powerful brass and rich strings.

Tickets go on general sale on Saturday, April 26. Don't miss this one-of-a-kind opportunity to experience the culmination of Dudamel's 17 years with the Los Angeles Philharmonic at Suntory Hall in Tokyo.

For details on each performance, please click here.

Saturday, October 25, 2025, 2:00 PM, Suntory Hall

Mahler / Symphony No. 2 "Resurrection"

https://www.amati-tokyo.com/performance/files/2025_LA_PHIL_A3_web.pdf

 

 

 

 

 

Add info No2)

2-Minute Orchestra Introduction for Adults Plus #13 [Mahler: Symphony No. 2 "Resurrection"]

https://www.youtube.com/watch?v=LWwWDWPJ72c

 

https://www.youtube.com/watch?v=Ghck2yd9d9o


Gustavo Dudamel / SBSOV Mahler: Symphony No. 2 Mov V (1/2)

https://www.youtube.com/watch?v=5eozfct_AwA&list=RD5eozfct_AwA&start_radio=1


Gustavo Dudamel / SBSOV Mahler: Symphony No. 2 Mov V (2/2)

https://www.youtube.com/watch?v=M0Px44IuVKM&list=RDM0Px44IuVKM&start_radio=1

 

 

 

 

Add info No3)

Mahler: Symphony No. 2 in C minor "Resurrection"

http://orchestra.musicinfo.co.jp/~jmo/mobile/note6th.html

 

Mahler: Symphony No. 2 in C minor "Resurrection" A grand drama of transition from death to rebirth

https://www.alpacablog.jp/entry/mahler-sy-2

 

[Mahler Symphony No. 2 "Resurrection" Analysis Part 1] 1st Movement

https://note.com/sharuru3501/n/nda2371ac9002

 

Mahler: Symphony No. 2 in C minor "Resurrection" Wikipedia

https://ja.wikipedia.org/wiki/%E4%BA%A4%E9%9F%BF%E6%9B%B2%E7%AC%AC2%E7%95%AA_(%E3%83%9E%E3%83%BC%E3%83%A9%E3%83%BC)

 

 

 

Add info No4)

Mahler Sinfonie nr 8 in Es Dur „Sinfonie der Tausend“ Giuseppe Sinopoli Philharmonia Orchestra

https://www.youtube.com/watch?v=CA8UN7JKBSc&list=RDCA8UN7JKBSc&start_radio=1

 

 

 

 

 

 

Add info NO5)

ERIC LU – final round (19th Chopin Competition, Warsaw)
https://www.youtube.com/watch?v=GFTHzzFA-TQ&list=RDGFTHzzFA-TQ&start_radio=1&t=90s

 

SHIORI KUWAHARA – final round (19th Chopin Competition, Warsaw)
https://www.youtube.com/watch?v=8gphqTkmnR8&t=1779s


MIYU SHINDO – final round (19th Chopin Competition, Warsaw)
https://www.youtube.com/watch?v=1WdkvGV7sBY&list=RD1WdkvGV7sBY&start_radio=1

 

 

 

Add Info No6)

Beth Taylor
https://en.wikipedia.org/wiki/Beth_Taylor

BETH TAYLOR Priva son d'ogni conforto (Handel: Giulio Cesare)
https://www.youtube.com/watch?v=t2le5Y2N_58

Dudamel and the Los Angeles Philharmonic: Mahler's Resurrection in Japan
https://ameblo.jp/takemitsu189/entry-12940994167.html

[Watching Record] Gustavo Dudamel/Los Angeles Philharmonic Japan Tour 2025 "Mahler: Symphony No. 2 "Resurrection" (October 25, 2025)
https://note.com/87_musicnote/n/ndcb3731be9bc

Gustavo Dudamel Conducts the Los Angeles Philharmonic in Japan
https://classicnavi.jp/newsflash/post-36845/

 


Is it a natural disaster? Dudamel and the Los Angeles Philharmonic's performance of Mahler's "Resurrection" is full of flamboyance. Japan tour, October 25, 2025
https://note.com/modern_sable344/n/nd684f741f710

Dudamel and the orchestra performed with such passion and skill, I wonder why. Perhaps they were too focused on the sonic effect. Maybe they were too strained and didn't feel natural and communicative. Dudamel is now in his mid-40s. I think he's a veteran, not a young performer, but his Mahler performance was full of energy and inspiration. It was free of cynicism, resignation, fatigue, despair, or comfort. Perhaps that's the true nature of the discomfort I felt.

 

 

 

 

 

 

The decisive difference between those who say ‘Ah, that was interesting’ after reading a book or watching a film, and those who can create ‘interesting stories’

 

The decisive difference between those who say ‘Ah, that was interesting’ after reading a book or watching a film, and those who can create ‘interesting stories’ (Five techniques for turning works into material)

 

 


A)
Where do people with interesting stories get their material from? Literary critic Kaho Miyake states, ‘Any novel, drama, or other work can become an endless source of interesting material, depending on how you approach it.’

B)
The process of “cooking” a work you've savoured:

When you read something, transforming it into “material” requires the following specific steps:

No1 〈Comparison〉 Compare it to other works
No2 〈Abstraction〉 Articulate its theme in words
No3 〈Discovery〉 Find what isn't explicitly written

Once you can do No1 - No3, you can advance to the following applications:

No4 〈Trends〉 Discussing shared characteristics of the era
No5 〈Timelessness〉 Discussing universal themes

Once you can appreciate or interpret what you've seen or read using any of these No1 - No5 approaches, you'll be in a position to talk about it with others.

In essence, the process might look like this:

Reading/viewing a specific work (the raw material)

Appreciating/interpreting it through one of the No1–No5 processes (the cooking)

Transforming it into something you can talk about (the plating)

In essence, I aim to convey how to cook it.

Honestly, interesting works remain interesting even when experienced without prior knowledge! After all, delicious vegetables and fruit taste good even without cooking, don't they? You can simply enjoy them as they are, savouring the raw flavour of the ingredients.

But when serving others, wouldn't you instead turn a tasty apple into an apple pie, or arrange it in a salad with other ingredients, rather than just serving it plain?

It's the same.

C)
Appreciating works involves an “interpretation process”:

Works are delicious both raw and cooked.

When serving others, it might be better to cook for them.

Just as cooking involves steps like seasoning, simmering, roasting, and mixing, appreciating art involves interpretative steps like comparison, abstraction, and discovery.

By mixing it with various ingredients to savour the flavours (comparison), mashing or simmering it to lose some of its form before tasting (abstraction), or adding seasoning it doesn't naturally possess (discovery), a deeper appreciation of its culinary value emerges.

The ingredients are delicious both raw and cooked.

Please try to discover your own cultural appreciation techniques for works.

Now then, let us look a little more closely at the ‘Five Techniques’ for appreciating stories.

No1〈Comparison〉Compare with other works
No2〈Abstraction〉Put the theme into words
No3〈Discovery〉Find what is not written
No4〈Trends〉Discuss as the common points of the era
No5〈Timelessness〉Discuss as universal themes

I'll explain each one briefly.

Let's use the Ghibli film “My Neighbour Totoro” as a concrete example.

D)
No.1 〈Comparison〉 Compare with other works:

When you read or watch a truly remarkable piece, you think, ‘Ah, that was brilliant!’

That alone means you've savoured the raw flavour. But it doesn't make for good conversation. Simply saying ‘it was brilliant’ doesn't make for an interesting story.

So, the first step is to ‘compare it to other works’.

After reading, think about what other works it can be compared to.

Example:

Comparing My Neighbour Totoro and Harry Potter, Japan's Totoro uses a ‘bus’ to transport you to another world, while Britain's Harry Potter uses a ‘train’.

Whereas the Catbus feels like a pre-modern, folkloric creature that's always existed, the Hogwarts Express is more like an industrial, futuristic piece of infrastructure.

...Which makes you wonder if Japan and Britain's “fantasy worlds” serve different purposes, perhaps?

This kind of little story becomes possible. It's only through this contrast – Japan's folkloric bus versus Britain's industrial train – that it transforms into this kind of “conversation starter”.

This could lead to a discussion about differences in attitudes towards infrastructure between Japan and the West, or perhaps about differing interpretations of fantasy.

Which work would you compare My Neighbour Totoro to?

E)
No2〈Abstract〉Putting the theme into words:

After watching a work, try pondering, ‘What was the theme of this story?’

Merely pondering it vaguely might not yield an answer. Crucially, remember: there is no single correct answer.

Frankly, there is no definitive theme for a work. If there were, the creator would simply state it explicitly. It is precisely because themes cannot be clearly articulated that works are created in the first place.

 

 

 

 


In that sense, crafting the theme is actually the viewer's task.

For instance, a tomato is simply a tomato. Yet discovering good themes about it – such as ‘it's rich in lycopene,’ ‘it adds colour,’ or ‘it makes delicious sauce’ – is the job of the cook, the viewer.

So, knowing there's no single correct answer, we still ponder the theme.

The key is to focus on ‘change’ and ‘conclusion.’

- What transformation does the protagonist undergo in this work?
- Which scenes are depicted with particular emphasis?
・What conclusion does the final scene present?

Let's consider this.

Example:

The theme of My Neighbour Totoro might be “Children grow up hidden from adults”.

The moments when Satsuki and Mei mature are always invisible to their parents. Instead, Totoro watches over their crises and transformations.

In other words, the very fact that they embark on incredible adventures and grow up without their parents knowing is the film's central theme.

Being able to articulate the theme makes for great conversation topics. It's highly versatile.

F)
No3〈Discovery〉Finding what isn't written:

This is practically a secret recipe, so I'm almost reluctant to share it... The secret technique: ‘Searching for what isn't depicted’. It's quite a pro tip, but it's an easy way to have interesting conversations, so I highly recommend it.

‘This is something that wouldn't be out of place if it were written, yet it isn't, right?’
‘For some reason, this kind of character never appears.’
‘They could have included this kind of story, but they didn't.’

There's always a reason for things that ‘should have appeared but didn't’. The author deliberately avoided them. And behind that lies the author's own deep, personal convictions.

Things that should be there, yet for some reason, aren't.

Simply spotting these elements significantly deepens your viewing experience. And they become conversation topics.

Example:

In My Neighbour Totoro, electrical appliances are almost absent.

The story begins with the family of three moving to the countryside, loading their belongings onto a motorised tricycle. Beyond that, the near-total absence of anything resembling electrical appliances is a defining feature of this film. Barely any electricity is present at all.

This suggests that what director Hayao Miyazaki truly wished to depict in this film might not merely be the interaction between nature and children, but also what has been lost to the advent of televisions, air conditioning, refrigerators, and other electrical appliances...?

By contemplating what remains unwritten, the themes become clearer.

G)
No.4 Discussing commonalities of the era through trends:

Comparing it to other popular things of the same era reveals shared themes. This helps you understand, ‘Ah, so this is what everyone is seeking now,’ and you might have moments where you see that era through your own lens.

It's good to compare novels and films, or perhaps compare a friend's words with lines from anime.

Example:

In 1988, when My Neighbour Totoro was released, the term ‘otaku’ was spreading throughout society. Yes, it was an era when society recognised the existence of young people passionate about anime and games.

The fact that Director Miyazaki achieved a hit with Totoro by idealising a rural setting from an era without televisions or computers ultimately serves as proof that, behind the scenes, everyone was becoming increasingly engrossed in precisely those things. Precisely because it didn't exist in reality, people began seeking it in fiction.

H)
No5〈Unchanging〉Discussing Universal Themes:

This is the opposite of No.4; instead, it involves knowing universal themes that transcend time and applying them.

Universal themes are now well-established, so with practice, you'll learn to categorise them: ‘Ah, this is a variant of that theme.’ This is the application stage, so those accustomed to watching dramas or reading novels find it easier, but it's achievable with practice.

Let's explore various themes by comparing them with other works.

Example:

Totoro from My Neighbour Totoro, Baymax from Big Hero 6, and Hagrid from Harry Potter. Each features a partner resembling an oversized stuffed toy who protects the children.

There's also the phrase ‘Linus's blanket’ – perhaps something comforting and enveloping, like a blanket, is essential alongside children's growth?

In this way, transforming the works you watch or read into ‘conversation topics’ requires a process akin to cooking.

 

 

 

 

 

 

The decisive difference between those who say ‘Ah, that was interesting’ after reading a book or watching a film, and those who can create ‘interesting stories’ (Five techniques for turning works into material)

https://president.jp/articles/-/103726

 

 

 

"Hippocrates' Blind Spot" Directed and Edited by Jun Onishi

 

 

[Documentarist Diaries #8] "Hippocrates' Blind Spot" Directed and Edited by Jun Onishi

 

 


1)
The “Documentary Diaries” project delivers the creators' unfiltered voices! We introduce articles written by the creators themselves, exploring the themes, issues raised, and sentiments depicted in their works, offering an opportunity to encounter the very essence of documentary filmmaking.

This time, we feature an article by director Hayato Onishi, whose documentary “Hippocrates' Blind Spot' – exploring the “blind spots” in science and society regarding the COVID-19 vaccine – opens nationwide on Friday, 10 October!

2)
Director/Editor: Hayato Onishi

Joined the TV Man Union in 2008. As a director/producer, he has been involved in video production across genres, including documentaries and dramas. Major works include “Capitalism of Desire” (NHK BS), “Earth Taxi” (NHK BS), and the film “Pretenders” (2021/directed by Izuru Kumasaka).

3)
Received the 56th Galaxy Award Encouragement Prize for ‘Capitalism of Desire 2019: Beyond False Individualism’ and the 57th Galaxy Award Encouragement Prize for ‘Earth Taxi: Running Through Seoul’. His role in promoting workplace COVID-19 vaccination within his company formed the background to this work.

※During his graduate studies, he researched the molecular mechanisms underlying the onset of neurological disorders. His doctoral thesis was titled ‘Biochemical and Physiological Analysis of Interaction Partners of the RNA-Binding Protein MBNL1’.

4)
Behind the Scenes of the Documentary Film “Hippocrates” Blind Spot'

The Beginning of the Research:

In the spring of 2023, finding myself unexpectedly free, I checked social media platforms I rarely used and was startled by the heated debates about the COVID-19 vaccine circulating there. 

I learned that Professor Emeritus Masanori Fukushima of Kyoto University was expressing outrage over health issues arising after COVID-19 vaccination. 

I was further astonished by the sheer number of adverse reactions and fatalities reported, and yet the continued promotion of vaccination. I felt a profound urge to understand why this was happening.

5)
Before working in film, I studied life sciences at graduate school. Concurrently, I engaged with the academic field of “science and technology communication”, which bridges science and society. 

I felt compelled to document what was happening. I might be the only one who could do it. Above all, I couldn't suppress the desire to know the truth.

6)
Two years of anxiety and tension:

After about six months of hesitation and deep reflection, I began my investigations in autumn 2023. 

Over the next two years or so, I interviewed institutions and doctors who had “recommended” the COVID-19 vaccine, alongside doctors and scientists who viewed health damage caused by the vaccine as pharmaceutical harm and were striving to help the victims.

7)
And the victims themselves and their families. I gathered diverse voices concerning the COVID-19 vaccine. While this wasn't my sole focus, indeed, a constant sense of tension and unease persisted throughout.

8)
Having completed the main film in September and submitted the pamphlet for printing in early October, I was finally liberated from the filmmaking process. I took a breather for the first time in two years. 

The theme we confronted in this work – ‘What exactly was the COVID-19 vaccine?’ – is a highly specialised issue with diverse arguments and opinions. I wish to record here a part of the production process that led to its completion as a 110-minute film.

9)
What to film and how to structure it:

Filming commenced on 11 January 2024 at a press conference held by the Vaccine Issues Research Group. For this project, Yuta Inoue (affiliated with 104) single-handedly handled filming, sound, and lighting, enabling us to operate with a minimal crew of just two people on location.

10)
From then on, it was a somewhat reckless production period, constantly juggling filming and editing while keeping a close eye on the movements of Dr Fukushima, based mainly in Nagoya.

Dr Fujisawa in Honbetsu Town, Hokkaido, and Dr Kodama in Takarazuka, Hyogo Prefecture, to determine when and what to film next. The total filming days reached 43, which I think illustrates that this was a production without a blueprint.

11)
However, specific essential points remained firmly in mind from the outset. 

Particularly, filming experts who had advocated for the COVID-19 vaccine and capturing the direct voices of families who had consulted Dr Fukushima personally were elements we sought to film early on, yet took considerable time to realise. 

Naturally, given the extremely sensitive nature of the subject, we anticipated that progress would not be smooth.

12)
As the film's release approaches, I wish to express my profound respect and gratitude once more to the extraordinary resolve and courage shown by the doctors, patients, and bereaved families who agreed to appear.

 

 

 


13)
Science and Emotion: I did not wish this to be merely a medical documentary:

Though my background is in science, I have always been drawn to the interface between science and society, and to the human experience of living alongside science, which has guided my work on programmes and projects. 

While this film is indeed grounded in the accumulation of scientific and medical facts, throughout the filming, structuring, and editing process, I consistently prioritised depicting the emotions, righteous indignation, and compassion of the doctors and scientists confronting these issues – the human feelings.

14)
Otherwise, it would be impossible to portray within a single film the profound sorrow and anger of patients still suffering from after-effects, or the indescribable sense of loss felt by those who have lost family members.

I understand the view that doctors and scientists should always remain calm and composed, never revealing their emotions. But film is about portraying human beings. What remains if you strip joy, anger, sorrow, and pleasure from people? Doctors and scientists are human beings too.

15)
And so, the film was born:

Personally, editing is the most gruelling process in filmmaking, demanding the full mobilisation of mind and senses. In essence, editing is the act of trial and error, seeking the optimal arrangement of footage, words (audio and captions), and music along a temporal axis.

From around January this year, I began editing while continuing filming and interviews. Day after day, I groped in the dark, wondering how to create the ebb and flow of a “story” from scenes that, at first glance, seemed rather mundane.

16)
However, the three senior producers who accompanied me on this journey continually reminded me of the core principle: to portray human beings. Over roughly eight months, I finally completed the editing. Now, I can think, “Ah, so this is the kind of film it was meant to be.”

17)
Without the support of the six individuals I privately dubbed the “main staff” – cinematographer Yuta Inoue, composer Masato Hatanaka, CG artist Yoshimasa Takano, online editor Yoshinori Saburi, sound effects engineer Shinnosuke Sato, and mixer Hiroto Morioka – my initial concept and research would never have crystallised into a film.

 

 

 

 

 

 

[Documentarist Diaries #8] "Hippocrates' Blind Spot" Directed and Edited by Jun Onishi

https://dmeetspjt.com/documentarist-diaries/6345

 


[Human Studio #38] "Hippocrates' Blind Spot" Directed by Jun Onishi (Part 1)

https://www.youtube.com/watch?v=h0rKHpPH2hc

[Human Studio #39] "Hippocrates' Blind Spot" Directed by Jun Onishi (Part 2)

https://www.youtube.com/watch?v=KxOseSKdPJ8

The COVID-19 vaccine. It was supposed to be the "saviour" recommended by the government.
Was the "hype" at the time correct? This shocking documentary, based on science and facts, depicts the aftereffects of the COVID-19 vaccine, which are largely ignored by major media outlets, from multiple perspectives.

 

Movie "Hippocrates' Blind Spot"

https://hippocrates-movie.jp/
https://youtu.be/nZ6ukWwGSPs

 

[Hippocrates' Blind Spot] A new vaccine film has been released! I attended the preview screening.

https://www.youtube.com/watch?v=Ac_DNdr8MrM&t=81s

 

 

 

 

 

 

 

https://www.youtube.com/watch?v=hKgscGu5OlY

 

 

 

 

Director Yusei Naruse's film "WHO?" After-talk, September 6, 2025. Director Yusei Naruse, Professor Chikatsu Hayashi, Professor Masayasu Inoue, and Yoko Tanaka. YouTube edited version.

https://www.youtube.com/watch?v=s4lEpHGwGk4