Wataru Sawabe

Wataru Sawabe’s filmography is kind of a wild ride if you’re into offbeat Japanese cinema. He’s best known for “Ongaku” (2019)—yeah, that rotoscoped, deadpan indie gem that’s basically about three high school losers who decide to start a band, despite, well, having zero musical talent. The absurdity just snowballs from there. It’s a weirdly charming mess, packed with dry humor and awkward energy, and honestly? You either love it or you’re totally confused the whole time. Sawabe’s got a knack for making painfully ordinary moments feel bizarrely epic, like, who knew staring blankly at a wall could be so funny? Then there’s “Yamada Takayuki no Cannes Eigasai” (2017). That one’s a bit of a trip, too—part mockumentary, part meta-comedy. It follows actor Yamada Takayuki as he gets tangled up in a fake film festival, blurring what’s real and what’s just for laughs. Sawabe leans into the absurdity, poking fun at the movie industry and all its pretentious nonsense. Don’t forget “Pâkusu” (2017), though. This one’s not as flashy, but it’s got that same low-key, oddball vibe. The stories meander, characters stumble through life, and you end up rooting for these weirdos in spite of yourself. If you’re sick of glossy, formulaic flicks, Sawabe’s films are like a breath of fresh, slightly awkward air. They’re not everyone’s cup of tea, but man, they stick with you.