Cannes Review: Brand New Landscape Offers a Unique Take on an Embodied Estrangement Drama

      When faced with the past, do you shy away or confront it? Siblings Ren (Kurosaki Kodai, in his debut leading role) and Emi (Mai Kiryu) have been estranged from their father (Ken’ichi Endô) for ten years since he pursued a new job in Tokyo. Ren, now working as a florist, spots a familiar name on a neighboring workstation’s order card. Driven by emotion rather than reason, he takes on the delivery himself, only to find his father gazing back at him through the expansive window of a major exhibition. Holding the floral arrangement tightly, he bears a significant weight.

      Yuiga Danzuka’s Brand New Landscape marks his feature debut, intuitively capturing emotional nuances. At 26 years old, Danzuka adopts a snapshot style for depicting his characters and their intertwined lives. He skillfully frames scenes to evoke the profound impact of pivotal moments in our lives. A slightly tilted angle shows a father walking away for good from a balcony; a static, Haneke-inspired portrayal of domestic spaces in wide shots; narrow hallways occupied by a solitary figure; a window through which viewers see the protagonist’s reflection alongside his father and themselves. The film is profoundly embodied, stirringly portraying the intricate pain of estrangement, akin to last year's I Saw The TV Glow's exploration of dysphoria.

      A more straightforward film might have narrated events solely from the son's perspective, but Brand New Landscape approaches its subject with a depth and understanding that reflects thoughtful empathy. Sister Emi chooses to avoid looking back, ignoring her fiancé’s warning signs to maintain her forward momentum. Father Hajime embarks on a redevelopment project, starting anew with the land just as he attempts to with his family. Though absent, Mother Yumiko's influence is felt in subtle ways. Danzuka allows his actors the freedom to express their emotions authentically, lending the film a relatable naturalism. Operating largely at a subdued intensity, they express their feelings openly at times, while feeling unable to do so at others.

      The title Brand New Landscape is multifaceted. It signifies transformation and reminds us that time cannot revert. It reflects the new lives each family member is forging and the constantly evolving nature of the spaces they occupy and the people with whom they interact. It also highlights the emerging generation of Japanese filmmaking talent, who are making strides to establish themselves both domestically and internationally. Yuiga Danzuka is the youngest Japanese director to feature in Directors’ Fortnight, following in the footsteps of last year’s 27-year-old Yoko Yamanaka and her film Desert of Namibia. Their works are interesting to compare; both serve as blunt challenges to patriarchy, with their young protagonists and filmmakers boldly carving out their own narratives and viewpoints within urban settings.

      The film's aesthetic is striking, with a clinical feel that enhances the portrayal of Tokyo's urban landscapes, showcasing an architect’s attention to detail and functionality. The surface similarities to Kiyoshi Kurosawa’s later works focused on isolation are intentional––cinematographer Kôichi Furuya filmed last year’s Chime––but let’s not confuse the two: this film is a unique creation.

      Brand New Landscape excels in capturing personal journeys in an unassuming manner; it resonates with something universal. Despite the fragmentation that often follows familial changes, Danzuka’s debut shattered me, serving as a poignant reminder that we can always rebuild.

      Brand New Landscape premiered at the 2025 Cannes Film Festival.