Man interacts with comatose lover through medical procedure

Man interacts with comatose lover through medical procedure
In Real, by director Kiyoshi Kurosawa, a man enters the mind of his comatose lover (Haruka Ayase, above) and interacts with her.

Japanese director Kiyoshi Kurosawa once said in an interview that with every film he makes, it is his wife's approval that he is trying to win.

So what does she make of his latest film, Real? In it, a man interacts with his comatose lover through a medical procedure called "sensing". The movie opens in cinemas today.

Speaking over Skype from Japan, a genial Kurosawa, 58, says in Japanese through an interpreter: "She's very happy with it. But I'm wondering which interview you read that in since it probably would not be well-known in Singapore."

For the record, it was an interview posted on twitchfilm.com in December 2008.

Asked for more details about her, he says: "She is my manager and her name is Hiromi. I think it's the first time I'm actually saying it in an interview, so it's weird to say it out loud."

His wife is 59 and the couple have no children.

Even though the two clearly have a close relationship, Kurosawa draws the line at entering her subconscious, if the technology depicted in his film were possible.

He says: "It would be a scary thing to find out what people close to you are thinking about you and it's better not to know. "Instead, I would be curious to find out what people who live in different environments, say, in Africa, think about my movies."

He might well find fans of his work even in far-off Africa. Kurosawa is best known for his horror films including Pulse (2001), about ghosts using the Internet as a portal to invade the world of the living, and Retribution (2006), about a detective's investigation into a string of murders.

His last film, Tokyo Sonata (2008), was a dark family drama and marked a departure of sorts for him. It won the award for Best Film at the 3rd Asian Film Awards and the Prix Un Certain Regard at Cannes Film Festival.

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