Watching Japanese actor Lily Franky retch, dry heave, and vomit in Diamonds in the Sand is one of the most realistic performances you’ll ever see on screen. During a media roundtable on 16 November, I asked him how he managed that scene.

“I think that vomiting scene was really good. After watching the film yesterday [at the gala screening at Gateway], I felt it was my best acting in the entire film. It’s very realistic,” Franky said. He spoke through a translator during the interviews.

Franky, whose real name is Masaya Nakagawa, is well-known in Japan. You may recall him as the father in the Palme d’Or-winning Shoplifters (2018).

“Do you know what I was eating? It was cutlet curry. I just thought about the scene with the dead person, and I ended up vomiting. Later, I felt sick after filming it.”

That level of commitment speaks volumes about Franky and about the skill of Filipina director Janus Victoria, who expertly guided her actors in this emotionally restrained yet powerful drama. The film is part of the QCinema International Film Festival, competing in the Asian Next Wave section. It stands out for its aesthetic restraint, emotional realism, and Franky’s deeply nuanced performance.

Franky is a multifaceted Japanese artist known not only for acting but also for his work in literature, visual arts, and music. He began his career as a designer and illustrator before gaining fame as a writer and actor. Among his works is The Adventures of Oden-Kun, a beloved Japanese children’s series about a sentient boiled fish cake (oden) that has been adapted into books, anime, and even Tamagotchi toys.

Currently in Manila for press events for Diamonds in the Sand and the 2025 Cannes film Renoir, Franky shared insights about the film, an international co-production between the Philippines, Japan, and Malaysia. Diamonds in the Sand has garnered positive responses at festivals across Asia, Europe, and North America. It confronts the morbidity and grief tied to its focus on loneliness head-on.

In the film, Franky plays Yoji, an elderly man living alone in Tokyo. Victoria explores Japan’s “lonely death” phenomenon (Kodokushi), where isolated individuals die alone and go undiscovered for long periods. Franky’s co-stars include Maria Isabel Lopez, Charlie Dizon, and Soliman Cruz.

I asked Franky, “Was there anything about your character that felt close to your own personality?”

He replied, “I believe I have a better personality than Yoji, at least. But there are parts of Yoji’s flawed humanity that are in me—and in all of us. He’s neither a hero nor a villain. The closest thing I share with Yoji is the possibility that I could be another lonely death case.”

“Has anyone you’ve met changed how you think about aging?” I asked.

Franky paused before speaking to his translator: “I think it’s normal for people to live alone as they age. Even though everyone says living alone is fun, I believe everyone feels lonely.”

He reflected on Filipino culture’s famous greeting, “Have you eaten yet?” — a question that is more than a simple greeting; it carries meaning. The film highlights Filipino customs of sharing meals and camaraderie, from lunch gatherings to karaoke sessions.

“I think it should be a phrase used worldwide. It could save many people. It’s a really good film.”

When I asked how he wanted audiences to feel after watching Diamonds in the Sand, he said:

“Loneliness is the most heart-wrenching thing. After seeing this film, I want people to cherish the connections they have with others. I want them to remember sharing meals, kindness, and the importance of human connections. I want people to ask others more often if they have eaten.”

“I want us to return to basic kindness. In the past, people in Japan would bring food to their neighbors. But now, that no longer happens. Not long ago, people would cook and share food with neighbors, and they would share back. I hope that becomes part of daily life again. No matter how advanced AI gets, I want people to remember the importance of genuine communication,” he added.

Diamonds in the Sand will screen on 18 November at Eastwood, and 21 and 22 November at Gateway Cineplex. Audiences can watch the trailer on YouTube.