Ueda Shinichiro Expands 76-Minute Vertical Series Into 111-Minute Feature

Tokyo, October 28, 2026. In the dimly lit screening rooms of the 39th Tokyo International Film Festival, a familiar face in Japanese independent cinema presented a new project. Ueda Shinichiro, known for the cult zombie hit One Cut of the Dead, is showing Earthlings in Love in the Nippon Cinema Now section. The film marks a shift from his traditional theatrical work to a format born on smartphones.

Earthlings in Love centers on Shinpei, a director diagnosed with young-onset dementia. The protagonist seeks to preserve his fading memories by completing a film he started with friends as a teenager. That original project consisted of 30 short episodes released on social media. Ueda stated that the enthusiastic online response to those clips convinced him to adapt the material for a theatrical release.

The director explained that the vertical aspect ratio dictated the story structure rather than the reverse. He developed the screenplay after deciding to shoot in the vertical format. The inspiration struck during a casual drink with old schoolmates in his hometown. Ueda noticed discrepancies in how they remembered the same events, which led him to explore the gap between human memory and recorded footage.

The vertical frame presents specific technical challenges, particularly for group shots. Ueda noted that the format restricts horizontal space, forcing the camera to deliberately omit visual information. He argued that this limitation serves the narrative about dementia, as some symptoms of the condition include limited vision. The viewer is left to fill in the gaps, mirroring the protagonist's experience.

The transition from a 76-minute social media series to an 111-minute feature required extensive editing. Ueda, who also edits his own films, explained that the pacing changed drastically. On social media, creators must hold attention to prevent users from swiping away. In a theater, the audience is seated and committed. This allowed Ueda to focus on performance details and slower directional choices.

The feature version includes footage that was too long or complex for the short episodes. Ueda added previously shot material and lines to the cut. He also removed several cliffhanger scenes that were designed to entice viewers to check the platform the next day. These narrative hooks were unnecessary for a continuous theatrical experience.

Ueda described the production process as distinct from his previous microdramas. He could develop an idea in the morning, shoot it during the day, and release it that evening. This rapid cycle contrasts with the 12-month lead time required for a feature film. The immediate feedback loop of social media offers a different creative dynamic than the long-term planning of theatrical cinema.

Despite the rise of short-form content, Ueda believes theaters will remain a unique cultural space. He cited a comment from a senior director friend who described the cinema as a modern church. In the dark, an audience sits together in a ritualistic silence, a practice that persists because it is the only place where people collectively turn off their phones.