Carving The Divine At Raindance

Four years ago, when I set myself up to show Carving the Divine at top-tier festivals,  I ran into the hard fact that in the documentary world, those with political messages are overwhelmingly preferred.  In other words, an apolitical film like Carving the Divine rarely finds a space at these top-tier festivals.   I consulted with a film festival strategy adviser who told me point blank that there was no way in hell Carving the Divine would make it into a top-tier festival due to its subject matter.

She wouldn’t take me as a client so I had to do it alone. Yes, it was an uphill battle.  Over and over again, I found myself barking up the wrong tree. Time after time, I was rejected.  I mean, so many times! But then, slowly, festivals started to notice Carving the Divine.  A snowball effect began and more and more festivals started accepting Carving the Divine.  Festivals couldn’t ignore the art of Busshi, the 1400 year old Japanese art tradition, the deep authentic relationship between masters and apprentices, and ultimately, the universal message of Buddhist statuary that binds humanity together.  In other words, in my view, the art transcends any political message that is only based upon who’s right and who’s wrong.

The art of Busshi is timeless; it’s always relevant.  If 100 years from now people watch Carving the Divine, I believe they would appreciate the work the same way they appreciate it now.  The art of Busshi is not a trend or fad.  It’s in our heart and soul.   I didn’t think so much about its true value when I captured the first footage of Carving the Divine. But as time goes by, I’ve come to see  the power and the profound nature of the art that is so much bigger than my mere ego realized.

Everything comes and goes.  Everything is transitory. But if I can leave something behind that would truly benefit the people who come after me, maybe there was a reason for me to be born and live this life.  And this is the life that’s worth fighting for.

The 2nd of November, 2021,  “Carving the Divine – Buddhist sculptors of Japan” was screened at Raindance Film Festival. After 10 years of blood, sweat and tears, from the idea, execution and demonstration, our film was finally showcased at the best independent film festival in the UK, undoubtedly the top tier.

I’m forever grateful to Raindance and Genesis Cinema for this opportunity to bring Carving the Divine to the United Kingdom.

Thank you so much to the Raindance founder Elliot Grove and program producer David Martinez for believing in Carving the Divine.

Thank you so much to Bailey Harris-Kelly for the great Q and A interview.  Thank you so much to the Carving the Divine UK manager Kaoru Kajitani for helping me so that I didn’t fall apart alone. Thank you so much to the Raindance staff and the audience.  And finally, thank you so much to the founder of JIFF Japan Indie Film Festival Mike Rogers for supporting Carving the Divine this whole time. Thank you so much, everyone.  I could not have done it without you.

“Like the artists he portrays in Carving the Divine, my good friend Yujiro Seki is an embodiment of dogged commitment to artistic vision. This project literally almost killed him, yet he persevered. When he finished the film, and set himself the goal of gaining acceptance into a top-tier film festival, I thought he was naive: there’s nothing “sexy” or “trendy” about this film, and he had zero connections. But today, four years after he shared this goal with me, Yujiro has built an incredible, cult following and his film is being shown at London’s Raindance film festival, one of the top film festivals in the world.

I’m so proud of my contribution to this film – He entrusted me with bringing out the best story possible in the brilliant threads and episodes he captured and edited over the course of several years. And together we delivered: The final product is a great piece of art … But the fact it’s now being recognized as such – that his filmmaking is finally getting the recognition it deserves – is purely a result of his otherworldly commitment. It’s inspiring. And I’m grateful to have witnessed it.”

Anthony Capitan – Story Editor

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