Antoine Godet paints the portrait of Makiko Furuichi

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Antoine Godet paints the portrait of Makiko Furuichi
by Jose Villarreal, artdaily



In the cinematic landscape, the introduction of painting brings to mind works such as "Anselm" by Wim Wenders or "Loving Vincent" by Dorota Kobiela and Hugh Welchman, to name a few. It's from these references that the young director Antoine Godet built his first film around the visual artist Makiko Furuichi.

Born on December 3, 1995, in the French department of Vendée, near the seaside, Antoine has always had a wandering spirit. This quest for travel led him to embrace the world of cinema, where he found fulfillment. Deeply interested in Asian cinematography, Antoine met director Dylan Besseau, with whom he shared this common passion, and together they founded the audiovisual agency Artwooks Media in 2021, later joined by director Guillaume Gevart. In 2023, Antoine crossed paths with the visual artist Makiko Furuichi. The two artists meet at a café terrace, and it's in the reflection of his espresso that Antoine develops an idea that will mark the beginning of his career as a filmmaker. Having previously served as director of photography for Dylan Besseau, the latter trusted him and assisted in producing his first film about Makiko. This Japanese visual artist, settled in France for about fifteen years, gained recognition in the country through exhibitions at the FRAC, the Marc Chagall museum, and winning the Maison Ackerman Prize in 2021. Through her watercolors on paper and oil paintings, Makiko has crafted a dreamlike universe populated by Yokais and various creatures from Japanese folklore. Her art is characterized by both visual and auditory lightness, as she also lent her talent to the Nantes Opera for the visual redesign of their posters.

Antoine also serves as the screenwriter for this film, aiming to capture a palpable reality, drawing inspiration from his philosophical influences such as the Spinozian approach he inherited from François Besse, a former French criminal with whom he extensively conversed over the phone. These calls have profoundly altered Antoine's perspective on daily life. Shedding light on Makiko's work is his primary objective. This film portrays the daily life of the Japanese artist through Antoine's subtle lens, detailing her creative processes. It delves into her personal life through intimate interventions, particularly when Makiko speaks of her grandfather, Minokichi Yasui, who was the first disciple of the renowned painter Ryusei Kishida. Echoing Wim Wenders' "Anselm," Antoine ventures into a delicate exercise, depicting Makiko suggestively and contemplatively. His cinematography echoes the artistic style of Japanese films, employing compositions where Godet's eye captures the whole rather than the detail. Antoine endeavors to film his shots as if painting a canvas, employing static shots and playing with the vibrant color palette reminiscent of Makiko's works. It's an intimate piece that marks the collaboration of these two artists that of a cinematographer turned director serving an ambitious and talented woman.










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Antoine Godet paints the portrait of Makiko Furuichi

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