Director<\/strong> : Momoko Seto<\/p>\n Producer<\/strong> : Emmanuel-Alain Raynal, Pierre Baussaron, Emmanuel Chaumet<\/p>\n Screenwriter<\/strong> : Momoko Seto, Alain Lavrac<\/p>\n Production Co<\/strong> : arte France Cin\u00e9ma,\u00a0Miyu Productions,\u00a0CNRS Images<\/p>\n Genre<\/strong> :Sci-Fi, Animation, Adventure<\/p>\n Original Language<\/strong> : French<\/p>\n Runtime<\/strong> : 1h 16m<\/p>\n <\/p>\n Exclusive Interview with Co-Writer\/Director Momoko Seto\u00a0<\/strong><\/p>\n Q: Ms. Seto, you studied at the Le Fresnoy – National Studio of Contemporary Arts<\/a> in France. What led you to decide to study in France?<\/strong><\/p>\n Momoko Seto: I attended a French school in Tokyo, Japan\u2014specifically, the Lyc\u00e9e Franco-Japonais de Tokyo<\/a>\u2014so I followed the French curriculum from kindergarten through high school.<\/p>\n Q: Was that because your parents spoke French, or was it something like that?<\/strong><\/p>\n Momoko Seto: My parents couldn\u2019t speak French at all; if anything, they spoke English. Well, my mother had lived in the UK, so she was more comfortable with English, but it was really my mother\u2019s decision. I have an older brother who went to a Japanese school, but my mother wasn\u2019t very fond of Japanese schools. Since I was the second child, she wanted to send me to a different kind of school\u2014an international school. There are quite a few American schools, but my mother wasn\u2019t particularly fond of America; she was more of a fan of the UK and Europe.<\/p>\n Q: I suppose there are probably a lot of people like that among those interested in the arts.<\/strong><\/p>\n Momoko Seto: That\u2019s right. Both of my parents are humanities majors and work as journalists, but it just so happened that there was a French school right next to my parents\u2019 company, and since it was easier to get into that one, I enrolled there. So I went to that French school\u2014even though no one else in my family spoke French\u2014and I stayed there through high school. After graduating from high school, I wanted to attend an art university, so I went to one in France.<\/p>\n Q: After that, you went on to make films at the CNRS (French National Center for Scientific Research)<\/a>. How did that come about? Did you join as a researcher?<\/strong><\/p>\n Momoko Seto: So, I moved to France when I was 19 and enrolled at the \u00c9cole des Beaux-Arts in Marseille (there are 59 national and public art and design schools in France, and these art schools\u2014equivalent to art and design universities in Japan\u2014are collectively referred to as \u201cBeaux-Arts\u201d). I studied art there for five years. I was mainly in the film department, and after that, I attended the \u00c9cole Nationale Sup\u00e9rieure d\u2019Art Contemporain Le Frenois\u2014it was sort of like a master\u2019s program\u2014where I continued my creative work. There, I made my very first short film for a short film festival, which served as my graduation project.<\/p>\n However, while I was attending the \u00c9cole des Beaux-Arts, I had a friend who went to the Lyc\u00e9e Fran\u00e7ais in Japan with me. That friend\u2019s father was a Japanologist\u2014a sociologist named Jean-Fran\u00e7ois Sabre\u2014and he wanted to make a film. He was looking for someone to edit the video footage he had shot as part of his research, and since I was studying film at art school, I used my filming skills to help him create something like a sculpture using the formations of salt crystals.<\/p>\n I thought that if we used time-lapse photography, we could see the process of how those salt crystals form. I used to help him edit those videos during summer break and such. Then, little by little, I started working part-time jobs while I was a student, and when I graduated from the \u00c9cole Nationale Sup\u00e9rieure des Arts Contemporains (Le Frenois) in France, the CNRS (French National Center for Scientific Research) was looking for a film director, so I applied, went through interviews and exams, and got in.<\/p>\n Q: In your short films, you directed the series “PLANET”, which consists of four short films. How did that lead to the creation of a feature-length film? Is there a connection between those short films and this latest work?<\/strong><\/p>\n Momoko Seto: The series \u201cPLANET<\/strong>,\u201d consisting of four short films, was my graduation project. In it, I used a time-lapse filming technique to create salt crystal formations\u2014sort of like salt sculptures. I would place a rope in saltwater, and as the salt crystals dried, they formed these salt crystal sculptures. If you look closely, salt crystals are actually perfect squares. I was fascinated by the fact that even though I was just leaving them in water naturally, they formed such perfect squares.<\/p>\n Also, depending on the shape of the rope, the salt crystals form something like a hedgehog\u2019s quills. I thought those quills had an interesting shape, and by using time-lapse, you can actually see with your own eyes how and why that formation happens, right? So I made the salt crystals grow quickly, as if I were watching a new creature emerge, and created a short film with a slightly 70s-esque, somewhat unique sci-fi vibe.<\/p>\n I thought time-lapse was such an interesting technique, so I created a second planet called “Planet Z<\/strong>“. There, I filmed phenomena like moss and mold\u2014things that aren\u2019t normally visible to the naked eye.<\/p>\n “Planet Z<\/strong>” was a professional short film I made after graduating from film school. I wrote a story about plants and mushrooms competing for survival, and it was about a 10-minute film. From there, I started getting invited to major film festivals like the Berlin Film Festival.<\/p>\n Then, for my third work, titled \u201cPlanet SIGMA<\/strong>,\u201d I decided to introduce Godzilla-like insects onto the planet. I shot the insects in macro slow motion\u2014capturing them moving slowly or making sounds like \u201cthud, thud\u201d\u2014and incorporated footage of grasshoppers and the like into a scenario where a frozen planet gradually heats up.<\/p>\n My fourth work is It\u2019s a virtual reality piece called “PLANET INFINITY<\/strong>“. That one was more about exploring the differences in scale within virtual reality. We projected images of tadpoles and strange mushrooms, and while the motifs from this feature film also appear in that short… (her kids are fighting in the background; she tried to stop them)… Sorry…<\/p>\n Q: That\u2019s fine. So, you worked on “PLANET INFINITY”, and that led to the feature-length film, is that right?<\/strong><\/p>\n Momoko Seto: That\u2019s right. So, while I was making those four shorts and experimenting with different techniques\u2014like changing the scale to a macro world or speeding up and slowing down the movement of nature\u2014a friend in the film industry mentioned that they wanted to see more of it. They suggested, \u201cWhy not expand this world beyond short films and create something a bit longer, like a 10-minute piece or more?\u201d<\/p>\n The producer I was working with at the time said, \u201cWell, let\u2019s try developing it!\u201d There\u2019s a co-screenwriter named Alain Layrac, and he introduced me to him. I\u2019d written a treatment of about 10 pages outlining what I wanted to shoot and the general vibe of the story\u2014like how the first planet was frozen, and then, as it gradually warmed up, animals living inside icebergs would emerge\u2014and so on. From there, it took me three years to expand that into a 60-page screenplay, and then we moved into production.<\/p>\n Q: Could you tell us why you chose a dandelion seed as the protagonist? Of course, the fact that the seed can travel to various worlds as it flies is part of it, and there are all sorts of encounters along the way, but I\u2019d like to hear about the reasoning behind focusing on the idea of making a dandelion seed the protagonist.<\/strong><\/p>\n Momoko Seto: The idea was that I wanted to write an adventure movie using a plant. Once a plant is planted, it doesn\u2019t really move much, does it? It grows, but among plants, seeds are definitely the most active in terms of movement. They get blown away, get tossed around in the soil, get eaten by other animals, or get washed away by water\u2014they have all these different ways of moving. I thought, \u201cIf I attached a tiny camera to a seed, wouldn\u2019t that make for an amazing adventure movie?\u201d That\u2019s how I came to find seeds kind of interesting.<\/p>\n And then, when I was looking at a dandelion\u2019s fluffy seed head, I thought it looked incredibly futuristic. When I looked closely at the fluffy seed heads, I noticed the lines of the seeds were incredibly straight and repeated, making them look like a futuristic space shuttle. From there, I started imagining seeds being scattered, with the space shuttle crew (the dandelion seeds) arriving at various new planets and embarking on new adventures\u2014and that\u2019s where I began writing. That\u2019s how the initial image took shape, and I thought, \u201cI want to make an adventure movie.\u201d<\/p>\n<\/ins>\n Q: I think what makes this work so appealing is that, while the design of the dandelion characters isn\u2019t overly anthropomorphized, it still manages to convey the distinct personalities of each of the four characters\u2014that sense of balance is incredibly compelling. I think the fact that they seem to have emotions is crucial to conveying that without resorting to anthropomorphism. When the audience watches the story, there are parts they can relate to. What aspects did you focus on when characterizing the dandelion seeds, or rather, when structuring them?<\/strong><\/p>\n Momoko Seto: Well, when you add eyes and a mouth to living things or objects, it just feels very American to me. In the old Disney \u201cSilly Symphonies<\/strong>\u201d (a series of short animated films produced by Walt Disney Animation Studios), there are scenes where trees talk\u2014they have eyes, branches as arms, and leaves as hair. To me, that feels very American.<\/p>\n From a Japanese perspective, there\u2019s still this sense that you can empathize with things even without eyes or mouths. It\u2019s not exactly animism, but it comes from Shinto\u2014the idea that objects have souls, or that trees and leaves have souls\u2014there\u2019s definitely that kind of culture. My parents weren\u2019t religious at all, but I\u2019ve always had this feeling that even rotten things have a soul, or something like that.<\/p>\n I was about 80% convinced that even without eyes or a mouth, you could empathize with a dandelion seed as the protagonist. Like, I was absolutely convinced it was possible. I deliberately avoided that Western-style approach, and my counterpoint was really about figuring out how to break out of that paradigm\u2014whether there might be a different way of thinking. I was very conscious of doing that.<\/p>\n And, just like in Noh theater, there are no facial expressions, right? Even without facial expressions on a mask, expressing sadness or joy through sound and movement is common in Japan. I speak many languages\u2014and I think Shin-san (the author) is the same\u2014but I had a sort of language disorder when I was little. I grew up speaking French, but for a long time, until a certain age, I couldn\u2019t speak either Japanese or French perfectly.<\/p>\n In the arts, conveying sensations through editing, music, sound, color, framing, and camera movement is something that\u2019s been done for a very long time. That\u2019s partly why I went to art school. That way of communicating or conveying emotion doesn\u2019t necessarily come from words.<\/p>\n In fact, if you really think about it, for example, instead of telling Nobu-san (the author) right now with a single word like \u201cI\u2019m sad,\u201d if I say nothing\u2014just hunching my body, letting my face fall, tears streaming down, or flashing a slight smile\u2014even though I\u2019m not saying a word, that expression alone conveys a much more complex sadness.<\/p>\n Just by saying I\u2019m sad, it feels like that very emotion gets crushed. There are so many different nuances to it. When you try to put the incredibly varied nuances of sadness and joy into words, it feels like they get crushed by a bulldozer. I really feel that small movements, subtle shakings, pauses where you don\u2019t move right away, or taking a moment before continuing\u2014those kinds of physical gestures\u2014allow for a much richer expression of emotion.<\/p>\n Conversely, by not using words\u2014and of course, since Tanpopo(Dandelion) doesn\u2019t speak, she doesn\u2019t use human language\u2014I felt on a very deep level that there must be so much more we could do. I really wanted to explore that. Yeah, that\u2019s the idea. From the scriptwriting stage through editing, sound, and animation, we worked together with everyone to figure out how Tanpopo would express her emotions, building layer upon layer to create that.<\/p>\n Q: I see. I heard that the live-action portions of this film were shot over a total of 260 days in three locations: France, Iceland, and Japan. Was there a specific reason for choosing those locations? I suppose even though they\u2019re all life forms on the same planet, were there specific locations you had in mind\u2014places you felt would be particularly well-suited for the visuals? Obviously, with Iceland, it\u2019s clear because of the icebergs, but for places like France and Japan, how did you go about deciding on those locations during location scouting?<\/strong><\/p>\n Momoko Seto: Yes. That\u2019s right. Of course, the entire frozen world in the beginning was filmed in Iceland. As for France, since the production is based there and the team is mostly French, we used France as our base and did the longest shoot there. We wanted to rent a greenhouse in the Burgundy region of France. The idea was that with a greenhouse, we could film a set where various plants were planted.<\/p>\n We planned to shoot in the summer inside a building that could withstand rain and wind while using natural light, and we were looking for a place like a greenhouse where natural light would come in and allow the plants to grow. So, we rented a place that looked like a castle in Burgundy. Since everyone had to live there, we had to secure accommodations for the entire crew. We also used 18 cameras to film time-lapse sequences inside that greenhouse.<\/p>\n At the same time, in a 200-square-meter studio next door, we were filming various SFX, special effects, and insect shots, so when we were looking for a location of that scale, a castle in Burgundy, France, agreed to host us. We all lived there for nine months, and all the scenes featuring plants in the film were shot there.<\/p>\n In Japan, there\u2019s a scene in the movie set in space before arriving at the first planet, where the stars gradually transform into firefly squid. I wanted to film the firefly squid in Toyama, Japan. The concept was that the protagonists arrive in pitch-black space, where glowing firefly squid appear, and then a huge, sea-urchin-like creature comes along, creating a new Milky Way canal.<\/p>\n The stars gradually take on the shape of squid, and it turns out that the squid is actually the planet\u2019s ring. At first, it\u2019s hard to tell if the firefly squid are actually stars or squid, so I went to the Firefly Squid Museum in Toyama to film them. After that, I lived on Yakushima for two months. Since Yakushima is famous for its moss, I wanted to use the moss there for scenes where moss actually appears.<\/p>\n Also, there\u2019s a white flower in Japan called Ginryusou that doesn\u2019t exist in Europe or elsewhere. In the movie, a slug is attacked by a mushroom, the slug dies, and the mushroom grows out of its body, but right next to it, there\u2019s this pure white flower standing there\u2014it\u2019s like it\u2019s watching over the scene, or acting as a guardian at the gateway to death.<\/p>\n I searched for that flower, but since Ginryusou is a Japanese flower that doesn\u2019t grow in Europe, I couldn\u2019t film it there. Also, there\u2019s a beetle that appears in the opening scene, and later on, there\u2019s a moth that appears alongside a mantis\u2014we filmed that moth in Japan as well. We filmed some unique animals that can only be found in Japan right there in Japan.<\/p>\n Q: In France, you also filmed at the Roscoff Aquarium, right?<\/strong><\/p>\n Momoko Seto: Yes. In France, there\u2019s a place called Roscoff in the Brittany region, near Burgundy, which is sort of like a deep-sea research institute. We filmed all the sea anemones there, and we also filmed a river in Iceland. There\u2019s a scene where the sea anemones are attached to the riverbanks like huge trees, and we filmed those sea anemones in France, We filmed those sea anemones in that part of Brittany. Since it\u2019s a research institute, we even had a team that went diving to collect the sea anemones.<\/p>\n Since the height and other specifications of the tank we built ourselves were fixed, we placed the sea anemones inside that handmade tank, filled it with seawater, and used a filtration system to keep the water clean. As you can imagine, we needed quite a bit of equipment. Although sea anemones are marine creatures, the film presents them as if they weren\u2019t underwater, so the water had to be kept clean at all times, which is why we used a filtration system.<\/p>\n From there, we filmed in Iceland using a drone. We programmed the drone\u2019s GPS into a robot so that it could replicate the same movements the drone had made while filming a 200-meter stretch of river\u2014but in an 80-centimeter-deep tank. We spent three weeks in the Brittany region doing that.<\/p>\n<\/ins>\n Q: Wow, that must have been a huge production.<\/strong><\/p>\n Momoko Seto: You\u2019re exaggerating… (wry smile)<\/p>\n Q: Watching it, I can really tell how much effort went into it, but between the macro live-action shots, the time-leap scenes, and now 3D animation as well… Having all these exceptional filming techniques\u20143D animation, macro live-action, time travel, and the cinematography\u2014all gathered into a single film really gave me the sense that this was a movie unlike anything I\u2019d ever seen before in terms of its expressive style. That\u2019s why I think many people will be surprised when they see this film. I was left with the impression that you\u2019re someone who approaches filmmaking in a truly unique way. What kind of films influenced you personally, and which works inspired you to take on these kinds of challenges in your own work?<\/strong><\/p>\n Momoko Seto: Yes, there are many, but I grew up watching Hayao Miyazaki\u2019s films. \u201cNausica\u00e4 of the Valley of the Wind<\/strong><\/a>\u201d came out when I was about six years old, and my mother often told me that I apparently watched it every day.<\/p>\n That film has had a huge impact on me. I watched it so often that I knew every single line of dialogue. The giant Ohmu looked just like a giant caterpillar that had grown enormous, and the idea that humans had destroyed the world, turning it into the Sea of Decay\u2014a rotten world\u2014really gave me a strong post-apocalyptic vibe. After that, of course, I grew up watching \u201cCastle in the Sky<\/strong><\/a>\u201d, \u201cMy Neighbor Totoro<\/strong><\/a>\u201d, and \u201cHowl\u2019s Moving Castle<\/strong><\/a>\u201d.<\/p>\n Later on, as I got older, the person who really left a lasting impression\u2014who I truly thought was a maestro\u2014was Jean-Luc Godard. Every time I watched one of his films, I\u2019d think, \u201cWhat a free spirit this man is.\u201d I once watched Godard\u2019s \u201cPassion<\/strong><\/a>\u201d while I was studying abroad in San Francisco, and after seeing it, I was so depressed I stayed in my room for two days. I was just really down, and I wondered what kind of films I would be able to make after that.<\/p>\n It\u2019s incredibly free and incredibly deep. He doesn\u2019t really do anything that big, but it\u2019s incredibly deep. I was really influenced by that, and also by Godard\u2019s 1960s films\u2014\u201cContempt<\/strong><\/a>\u201d, \u201cWeekend<\/strong><\/a>\u201d, \u201cA Woman Is a Woman<\/strong><\/a>\u201d, \u201cMasculine Feminine<\/strong><\/a>\u201d\u2014those are also free and full of wordplay. And when Godard went on to make 3D films later, I realized this guy is really like a child\u2014he loves new things and wants to challenge himself with all sorts of things.<\/p>\n It\u2019s like, honestly, I feel like he\u2019s more of an artist than a film director. The artists I like\u2014well, how should I put it? Rather than the traditional role of a film director, they\u2019re more like\u2014I come from an art background myself, having gone to art school\u2014they experiment with all sorts of things, try out new techniques, and possess that kind of innovative spirit. I\u2019m really influenced by those artists, and I definitely feel that we should be free.<\/p>\n Q: I hear you\u2019re working with the production company MIYU Production on this project. Could you tell us a bit about what kind of company MIYU Production is and what role they\u2019re playing in this production?<\/strong><\/p>\n Momoko Seto: MIYU Production is an animation studio that\u2019s been around for about 15 years. They tend to make more traditional animation\u2014focusing on hand-drawn animation and traditional animation techniques\u2014and don\u2019t do much 3D work. The producer at MIYU Production, Emmanuel Aaron Leonard, had seen one of my short films before, and when I met him at a film festival, we ended up talking about my work. At the time, I was in development with a production company called Edge Films, but Edge Films got into a bit of trouble during the COVID-19 pandemic, so I had to look for a new production company. That\u2019s when we decided to look for a co-production partner.<\/p>\n Since the characters are animated, I thought an animation studio might be a good fit. Edge Films specializes in live-action, not animation, and since my project combines live-action and animation, an animation studio would have the necessary expertise.<\/p>\n So, when I approached MIYU, it turned out they were in the middle of producing a feature film at that very moment\u2014 a feature film compiling Haruki Murakami\u2019s short stories, which she was shooting with a French director, and she was also developing other feature films. I approached her at that time, told her I wanted to do this project, and we started this co-production. In the end, MIYU ended up taking the lead. MIYU actually has close ties to Japan; that film \u201cAnzu-chan the Cat\u201d was also a co-production with them.<\/p>\n Q: So, that company, MIU, has quite a bit of involvement with Japanese works, doesn\u2019t it?<\/strong><\/p>\n Momoko Seto: That\u2019s right. I\u2019m Japanese, but I don\u2019t really have that \u201cJapanese\u201d vibe\u2026<\/p>\n Q: I\u2019m the same way. I\u2019ve been in the U.S. for quite a long time, so I don\u2019t really have much interaction with Japanese people. Part of it is that I haven\u2019t really been around many Japanese people to begin with\u2026 Since I haven\u2019t really interacted with Japanese people living in the U.S., most of my friends are American, so I think you\u2019re probably in the same boat, Ms. Seto.<\/strong><\/p>\n Momoko Seto: That\u2019s right, you\u2019re right.<\/p>\n Q: Well, to a certain extent, that was the only way to do what I wanted to do\u2026<\/strong><\/p>\n Momoko Seto: I understand, really.<\/p>\n<\/ins>\n Q: I think this is a film that will really draw in a wide range of viewers, from children to adults, regardless of age or gender. At the same time, I believe it\u2019s a film with a strong message that really makes you think about the environment and the future. You\u2019ve also created a series of short films called \u201cPlanet,\u201d and I imagine there are various issues surrounding global warming and the like. Through this work, what specific aspects of environmental issues and related topics did you personally hope to convey?<\/strong><\/p>\n Momoko Seto: Well, yes. My hope stems from reading works on eco-philosophy\u2014the idea that if we shift our perspective from that of humans to that of other animals or living creatures, we can see things differently and feel them differently.<\/p>\n There\u2019s a famous American anthropologist named Anna Chin who wrote a book about matsutake mushrooms. It was originally written in English, but I read the French translation, *The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins*, which is a book about Japanese matsutake mushrooms.<\/p>\n In that book, she talks about how nature\u2014which she used to think of as just a backdrop\u2014isn\u2019t a backdrop anymore, but rather actors, just like us. She says, \u201cIt\u2019s not a background anymore; it\u2019s actors like us.\u201d She suggests that if we view nature from that perspective, we might experience it with a different sense and see nature in a whole new light.<\/p>\n Also, the idea of film through the camera is truly wonderful. When you lower the camera\u2019s perspective\u2014from 160 cm down to just 2 mm above the ground\u2014the sensation is completely different. The way you perceive what you\u2019re looking at changes. If humans could apply that different perspective\u2014that different viewpoint, different movement, different flow of time, and different interaction\u2014to other things, what we see would change entirely. We wouldn\u2019t have that sense of humans dominating everything around us like some kind of supermachine.<\/p>\n The point is that we have to start by changing our perspective. Of course, when it comes to environmental issues, there are all sorts of things people say\u2014like we shouldn\u2019t fly or we shouldn\u2019t eat meat\u2014but the first step is to change our perspective. The films I make aren\u2019t documentaries, nor are they eco-political films; they\u2019re sensory films about how to use art. So, for the duration of the 1 hour and 10 minutes (the runtime), let\u2019s transform our bodies into seeds. Become a seed and see things from a seed\u2019s perspective.<\/p>\n Through the film\u2019s editing, camerawork, and sound\u2014and through that physical transformation\u2014and what you feel there, only then will the audience realize, \u201cAh, I could feel what a seed feels! Seeds, just like humans, are looking for a home. Seeds, just like humans, travel from one country to another, trying to establish their roots in that country.<\/p>\n Nobu-san (the author) and I are in the same boat\u2014our goal is to go to a new place, to make that place our roots, and to put down roots there. By realizing that seeds share the same struggle to take root as we humans do, I started to think that maybe we\u2019re all connected\u2014or perhaps we\u2019re all the same. It shifts the perspective from a pyramid-shaped view to a more horizontal one. I definitely felt that there was something I could do to help change that perception, even if just a little bit.<\/p>\n Q: Finally, based on “Dandelion\u2019s Odyssey”, what kind of films would you like to make in the future?<\/strong><\/p>\n Momoko Seto: I think it would be interesting to observe the behavior of things and creatures other than humans\u2014to explore what we can learn from plants, insects, air, and water, or to consider how things we currently take for granted might one day no longer be so. I\u2019d like to develop a perspective that challenges conventional wisdom, allowing us to reexamine our relationships with one another and with the world around us. I believe that\u2019s what\u2019s truly important.<\/p>\n If you start by asking whether this is more important than just being interesting, you\u2019ll find there are already so many ways to tell stories. I think that just by shifting our perspective, we can see all sorts of things\u2014from plants, woodlice, and water. Yes, rather than just centering on humans, I\u2019m really thinking about how we can use these various tools to think laterally.<\/p>\n Q: Has distribution for this film already been decided in Japan and the U.S.?<\/strong><\/p>\n Momoko Seto: It hasn\u2019t been decided in the U.S. yet, but it has been decided in Japan. It will be released this fall.<\/p>\n Q: Which company is distributing it in Japan?<\/strong><\/p>\n Momoko Seto: It\u2019s called Portre. They don\u2019t seem to distribute many feature films, but they were deeply moved by it and agreed to distribute the film. We\u2019re currently looking for a distributor in the U.S.<\/p>\n<\/ins>\n <\/p>\n If you like the interview, share your thoughts below!<\/strong><\/p>\n![\"Momoko](\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2026\/03\/Momoko-Seto.png\")
<\/p>\n![\"Dandelion's](\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2026\/03\/Dandelions-Odyssey2-1024x644.png\")
\u00a9<\/b>Courtesy of Miyu Productions<\/p>\n![\"Dandelion's](\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2026\/03\/Dandelions-Odyssey3-1024x522.png\")
\u00a9<\/b>Courtesy of Miyu Productions<\/p>\n![\"Dandelion's](\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2026\/03\/Dandelions-Odyssey4-1024x510.png\")
\u00a9<\/b>Courtesy of Miyu Productions<\/p>\n![\"Dandelion's](\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2026\/03\/Dandelions-Odyssey5-1024x511.png\")
\u00a9<\/b>Courtesy of Miyu Productions<\/p>\n