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| TOKYO — The Japanese film director Chie Hayakawa was germinating the idea for a screenplay when she decided to test out her premise on elderly friends of her mother and other acquaintances. Her question: If the government sponsored a euthanasia program for people 75 and over, would you consent to it? | 东京——在酝酿一个剧本想法的日本电影导演早川千绘决定用母亲和其他熟人的老年朋友来检验她的一个假设。她的问题是：如果政府出资支持一个75岁以上人士安乐死的项目，你会同意吗？ |
| “Most people were very positive about it,” Ms. Hayakawa said. “They didn’t want to be a burden on other people or their children.” | “大多数人都是非常认可的，”早川说。“他们不想成为别人或子女的负担。” |
| To Ms. Hayakawa, the seemingly shocking response was a powerful reflection of Japan’s culture and demographics. In her first feature-length film, “Plan 75,” which won a special distinction at the Cannes Film Festival this month, the government of a near-future Japan promotes quiet institutionalized deaths and group burials for lonely older people, with cheerful salespeople pitching them on the idea as if hawking travel insurance. | 在早川看来，这个令人震惊的反馈是对日本文化和人口状况的有力反映。在她获得本月戛纳电影节特别提名奖的首部全长片《75终老计划》(Plan 75)中，在不久后的日本，政府针对寡居老人开始推广悄无声息的制度化死亡和群葬，推销员欢快地向他们介绍这种理念，仿佛在兜售某种出行保险。 |
| “The mind-set is that if the government tells you to do something, you must do it,” Ms. Hayakawa, 45, said in an interview in Tokyo before the film’s opening in Japan on Friday. Following the rules and not imposing on others, she said, are cultural imperatives “that make sure you don’t stick out in a group setting.” | “这种心态就是，如果政府让你去做什么事，你一定得去做，”45岁的早川周五在东京的日本首映前接受采访说。她说，遵守规则、不强加于人是必须做到的，“这样才不会在人群中冒头。” |
| With a lyrical, understated touch, Ms. Hayakawa has taken on one of the biggest elephants in the room in Japan: the challenges of dealing with the world’s oldest society. | 早川以抒情、含蓄的手法，直面日本房间里最大的大象：如何应对世界最年迈社会的挑战。 |
| Close to one-third of the country’s population is 65 or older, and Japan has more centenarians per capita than any other nation. One out of five people over 65 in Japan live alone, and the country has the highest proportion of people suffering from dementia. With a rapidly declining population, the government faces potential pension shortfalls and questions about how the nation will care for its longest-living citizens. | 65岁及以上的老人占日本人口总数近三分之一，按人口比例计算，日本的百岁老人数量居全球首位。在日本65岁以上的老人中，五分之一是独自生活，失智症患者的占比也是全球最高。随着人口的急速减少，政府可能面临养老金不足，以及如何照料这些长寿的国民的问题。 |
| Aging politicians dominate government, and the Japanese media emphasizes rosy stories about happily aging fashion gurus or retail accommodations for older customers. But for Ms. Hayakawa, it was not a stretch to imagine a world in which the oldest citizens would be cast aside in a bureaucratic process — a strain of thought she said could already be found in Japan. | 政府由年迈的政客主导，日本媒体重点宣传那些美好的故事：幸福地步入暮年的时尚宗师或为老年顾客准备的零售住宿。但是在早川看来，不难想象一个老年国民被官僚程序随意打发的世界——她认为在日本已经能看到这种想法在显露端倪。 |
| Euthanasia is illegal in the country, but it occasionally arises in grisly criminal contexts. In 2016, a man killed 19 people in their sleep at a center for people with disabilities outside Tokyo, claiming that such people should be euthanized because they “have extreme difficulty living at home or being active in society.” | 安乐死在日本是非法的，但时不时会在骇人罪行的语境下出现。2016年，一名男子在东京郊外一座残疾人中心杀死了19名熟睡中的人，他声称这些人应该被安乐死，因为他们“在家居生活或参与社会活动方面极为艰难”。 |
| The horrifying incident provided a seed of an idea for Ms. Hayakawa. “I don’t think that was an isolated incident or thought process within Japanese society,” she said. “It was already floating around. I was very afraid that Japan was turning into a very intolerant society.” | 这个可怕的事件促使早川产生了一个想法。“我不认为这在日本社会中是个孤立的事件或思考过程，”她说。“已经有人在谈论了。我非常担心日本会变成一个极度不包容的社会。” |
| To Kaori Shoji, who has written about film and the arts for The Japan Times and the BBC and saw an earlier version of “Plan 75,” the movie did not seem dystopian. “She’s just telling it like it is,” Ms. Shoji said. “She’s telling us: ‘This is where we’re headed, actually.’” | 在《日本时报》和BBC发表电影和艺术文章的庄司香织（音）看了《75终老计划》的一个早期版本，在她看来，这并不是一部反乌托邦电影。“她只是在说事实，”庄司说。“她在跟我们说：‘事实上，我们正在奔着这个方向去。’” |
| That potential future is all the more believable in a society where some people are driven to death by overwork, said Yasunori Ando, an associate professor at Tottori University who studies spirituality and bioethics. | 研究灵性和生物伦理的鸟取大学副教授安藤泰至说，在一个繁重工作导致过劳死的社会，这种未来的可能显得更加可信了。 |
| “It is not impossible to think of a place where euthanasia is accepted,” he said. | “安乐死获得接受并非那么不可想象，”他说。 |
| Ms. Hayakawa has spent the bulk of her adult years contemplating the end of life from a very personal vantage. When she was 10, she learned that her father had cancer, and he died a decade later. “That was during my formative years, so I think it had an influence on my perspective toward art,” she said. | 成年后的大部分时间里，早川都从非常个人化的角度去思考生命的终结。10岁时，她得知父亲得了癌症，他在10年后去世。“那是在我性格形成的时期，所以我认为它影响了我的艺术观，”她说。 |
| The daughter of civil servants, Ms. Hayakawa started drawing her own picture books and writing poems from a young age. In elementary school, she fell in love with “Muddy River,” a Japanese drama about a poor family living on a river barge. The movie, directed by Kohei Oguri, was nominated for best foreign language film at the Academy Awards in 1982. | 出身公务员家庭的早川从小就开始自己画绘本、写诗。上小学的时候，她爱上了日本电影《泥之河》(Muddy River)，它讲述河流驳船上贫困家庭的生活。该片由小栗康平执导，曾在1982年获得奥斯卡最佳外语片提名。 |
| “The feelings I couldn’t put into words were expressed in that movie,” Ms. Hayakawa said. “And I thought, I want to make movies like that as well.” | “我无法用语言表达的情感在那部电影中得到了表达，”早川说。“我想，我也要拍这样的电影。” |
| She eventually applied to the film program at the School of Visual Arts in New York, believing that she would get a better grounding in moviemaking in the United States. But given her modest English abilities, she decided within a week of arriving on campus to switch to the photography department, because she figured she could take pictures by herself. | 后来她申请就读纽约视觉艺术学院的电影专业，相信在美国可以为学习电影制作打下更好的基础。但是由于她的英语水平不高，她入学不到一周就决定转到摄影系，因为她觉得她可以自己拍摄。 |
| Her instructors were struck by her curiosity and work ethic. “If I mentioned a film offhandedly, she would go home and go rent it, and if I mentioned an artist or exhibition, she would go research it and have something to say about it,” said Tim Maul, a photographer and one of Ms. Hayakawa’s mentors. “Chie was someone who really had momentum and a singular drive.” | 她的好奇心和工作态度打动了导师们。“如果我随口提到一部电影，她就租回去看，如果我提到一个艺术家或展览，她就会去研究，并且对它发表看法，”早川的导师之一、摄影师蒂姆·莫尔说。“她有着真正的干劲，有与众不同的动力。” |
| After graduating in 2001, Ms. Hayakawa gave birth to her two children in New York. In 2008, she and her husband, the painter Katsumi Hayakawa, decided to return to Tokyo, where she began working at WOWOW, a satellite broadcaster, helping to prepare American films for Japanese viewing. | 2001年毕业后，早川在纽约生下了两个孩子。2008年，她和身为画家的丈夫早川克己决定回到东京，在那里，她开始在WOWOW卫星广播公司工作，筹备供日本观众收看的美国电影。 |
| At 36, she enrolled in a one-year film program at a night school in Tokyo while continuing to work during the day. “I felt like I couldn’t put my full energy into child raising or filmmaking,” she said. Looking back, she said, “I would tell myself it’s OK, just enjoy raising your children. You can start filmmaking at a later time.” | 36岁时，她报名参加了东京一所夜校为期一年的电影课程，同时白天继续工作。“我觉得我不能把全部精力放在抚养孩子或者拍电影上，”她说。回首往事，她说，“我会告诉自己，没关系，只要享受抚养孩子的过程就好。你可以晚点再开始拍电影。” |
| For her final project, she made “Niagara,” about a young woman who learns, as she is about to depart the orphanage where she grew up, that her grandfather had killed her parents, and that her grandmother, who she thought had died in a car accident with her parents, was alive. | 最后，她拍出了《尼亚加拉》(Niagara)，讲述一个年轻女子在即将离开她长大的孤儿院时，得知自己的祖父杀死了她的父母，而她以为已经和父母一起死于车祸的祖母还活着。 |
| She submitted the movie to the Cannes Film Festival in a category for student works and was shocked when it was selected for screening in 2014. At the festival, Ms. Hayakawa met Eiko Mizuno-Gray, a film publicist, who subsequently invited Ms. Hayakawa to make a short film on the theme of Japan 10 years in the future. It would be part of an anthology produced by Hirokazu Kore-eda, the celebrated Japanese director. | 她把这部电影作为学生作品提交到2014年的戛纳电影节，入选了放映单元，这让她感到非常震惊。在电影节上，早川千绘遇到了电影推广人水野咏子，后者邀请她拍摄一部以未来10年的日本为主题的短片。它将进入日本著名导演是枝裕和制作的一部短片选集。 |
| Ms. Hayakawa had already been developing the idea of “Plan 75” as a feature-length film but decided to make an abridged version for “Ten Years Japan.” | 当时早川已经在将《75终老计划》的设想发展为一部长片，但决定为《十年日本》制作一个简化的版本。 |
| While writing the script, she woke up every morning at 4 to watch movies. She cites the Taiwanese director Edward Yang, the South Korean director Lee Chang-dong and Krzysztof Kieslowski, the Polish art-house director, as important influences. After work, she would write for a couple of hours at a cafe while her husband cared for their children — relatively rare in Japan, where women still carry the disproportionate burden of housework and child care. | 在写剧本的阶段，她每天早上4点起床看电影。她表示台湾导演杨德昌、韩国导演李沧东和波兰艺术片导演克日什托夫·凯希洛夫斯基都对她产生了重要影响。下班后，她会在一家咖啡馆写几个小时，丈夫则照顾孩子们——这在日本相对少见，那里的女性仍然承担着格外多的家务和照顾孩子的负担。 |
| After Ms. Hayakawa’s 18-minute contribution to the anthology came out, Ms. Mizuno-Gray and her husband, Jason Gray, worked with her to develop an extended script. By the time filming started, it was the middle of the pandemic. “There were countries with Covid where they were not prioritizing the life of the elderly,” Ms. Hayakawa said. “Reality surpassed fiction in a way.” | 在早川为《十年日本》制作的18分钟短片完成后，水野咏子和她的丈夫杰森·格雷与她一起创作了一个扩展剧本。拍摄开始时正值大流行肆虐期间。“有些国家没有把老年人的生活放在首位，”早川说。“在某种程度上，现实超越了虚构。” |
| Ms. Hayakawa decided to adopt a subtler tone for the feature-length movie and inject more of a sense of hope. She also added several narrative strands, including one about an elderly woman and her tightknit group of friends, and another about a Filipina caregiver who takes a job at one of the euthanasia centers. | 早川决定在这部长片中采用更微妙的基调，并更多地注入一种希望。她还添加了几条叙事线索，其中一条是关于一位老年女性和她的一群关系紧密的朋友，另一条是关于一名在安乐死中心工作的菲律宾护工。 |
| She included scenes of the Filipino community in Japan, Ms. Hayakawa said, as a contrast to the dominant culture. “Their culture is that if somebody is in trouble, you help them right away,” Ms. Hayakawa said. “I think that is something Japan is losing.” | 早川说，她将日本的菲律宾人群体的场景纳入其中，以此作为与主流文化的对比。“他们的文化是，如果有人遇到麻烦，你会立即帮助他们，”早川说。“我认为这是日本正在失去的东西。” |
| Stefanie Arianne, the daughter of a Japanese father and a Filipina mother who plays Maria, the caregiver, said Ms. Hayakawa had urged her to show emotional restraint. In one scene, Ms. Arianne said, she had the instinct to shed tears, “but with Chie, she really challenged me to not cry.” | 扮演看护人玛丽亚的斯蒂芬妮·阿里安父亲是日本人，母亲是菲律宾人。她说早川曾敦促她表现出情绪的克制。在一个场景中，她本能地想流泪，“但千绘坚持要求我不哭。” |
| Ms. Hayakawa said she did not want to make a film that simply deemed euthanasia right or wrong. “I think what kind of end to a life and what kind of death you want is a very personal decision,” she said. “I don’t think it’s something that is so black or white.” | 早川说，她不想拍一部简单地认定安乐死是对是错的电影。“我认为你希望生命如何终结以及希望怎么死去是一个非常个人的决定，”她说。“我不认为这是非黑即白的事情。” |
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