This film beautifully portrays the tender romance between Nanyoung, an astronaut whose mother went missing during a Mars exploration, and Jay, a young man who once gave up on his dream of becoming a musician. Set in the near future of 2050, it tells the story of a long-distance relationship spanning Earth and space, following a woman who aims for the stars and a young man who remains on the ground, waiting for her return while rekindling his own musical dreams. The voice cast features KIM Taeri, known for the film The Handmaiden, and HONG Kyung from D.P.

The film is directed by HAN Jiwon, a director who has been a consistent presence in Korea’s independent animation scene. Recognized at events like Seoul’s Indie-Anifest, HAN has previously worked on short animations, music videos, omnibus features, and streaming series. We had the opportunity to speak with Director HAN about the film’s production journey and the creative decisions that shaped it.

［Interview and Text by SUGIMOTO Hodaka］

■The Project Concept That Began with a Short Film

――This film is an original work. Where did the concept for the project originate?

HAN: I’ve always loved animated works that depict dreams, and it’s a theme I constantly wish to express. I also have a deep fondness for stories featuring women and astronauts, which led me to conceive this project. In fact, I previously created a short music video that featured an astronaut. That short was about a child who missed their mother and held a certain doll, which symbolized separation. Climax Studio, who undertook the production this time, liked that short film very much and suggested developing the story further, which became the basis for this work’s concept.

Love is a crucial element in this film. While I was writing the script, I was actually in a relationship, so I had many things I wanted to express about love. Climax Studio was also encouraging, suggesting we incorporate elements of love, and that’s how this film came into being.

■A Larger Scale Production

――Netflix’s first original Korean feature-length animation. Compared to your previous works, the production scale must be significantly larger.

HAN: Yes, that’s right. I’ve previously produced animation in various formats, including web shorts, advertisements, and streaming series. Compared to those, Ano Hoshi ni Kimi ga Iru has significantly increased in runtime, budget, and staff numbers. For my previous works, I would sometimes handle everything myself – storyboarding, character design, animation, backgrounds, and even filming. But this time, the production involved a division of labor. Having more staff and a division of labor allowed me to concentrate more on the directorial work, and I believe the collaboration with many staff members resulted in a really interesting film. Working with multiple teams was a complex process, but we managed it well through effective communication.

■Realistic, Relatable Characters You Might Find Nearby

――This film can be described as a story of lovers separated by space and Earth. Japanese anime fans might be reminded of Director SHINKAI Makoto’s works. Was there any influence from Director SHINKAI?

HAN: Director SHINKAI Makoto is someone who has influenced animation worldwide, so I can certainly say I am one of those influenced. However, the concept for this film was in development even before Kimi no Na wa. was released. The short film that served as the base was a story about a mother and child separated by Earth and space. The element of love, which I mentioned earlier, was then added, and it evolved into this form.

The distance between space and Earth naturally strengthens feelings of longing and sadness. When I was thinking about this project, I wanted to set it in space, which was a setting I was already interested in. I believe the film is influenced not just by Director SHINKAI but also by various works I’ve encountered and been influenced by since childhood.

――The portrayal of people in this film feels very realistic, and the characters are full of relatable charm. What do you prioritize when creating characters?

HAN: I’m very happy you picked up on that, as it’s the main thing I wanted to express. I do believe there are certain character types that are typical for animation. There might be a preconceived notion of what an anime character looks like and how they express themselves. However, I’ve always wanted to depict unique individuals with personality, the kind you might find if you looked around you, rather than conforming to those notions. That is the core of my character design philosophy and the identity of my work. Both Nanyoung and Jay, the protagonists of this film, are designed as people who could exist in our everyday lives.

Their clothing is also referenced from what is currently fashionable. People often say fashion trends cycle back every 25 years, right? Since this story is set in 2050, exactly 25 years from now, I thought people would likely be wearing similar clothes to today. For character design, I paid close attention to making expressions appear three-dimensional. And to add realism, I deliberately included uneven details on Nanyoung, such as spots and freckles. I wanted to pay attention to details to create a sense of realistic presence. I aim to create characters that are recognized as unique individuals, not just stereotypical types.

■Working with Renowned Actors

――The protagonists, Nanyoung and Jay, are voiced by renowned actors KIM Taeri and HONG Kyung.

HAN: Yes. They didn’t just provide their voices; we actually had them perform the scenes in live-action reference shoots, which we then used as a guide during animation production. For example, we had them act out scenes where they argue or express affection, and referred to that when creating the animation. For some scenes, we also listened to their interpretations and incorporated their opinions on how Nanyoung and Jay might think or act in those moments, even revising the script based on their input. KIM Taeri and HONG Kyung’s participation significantly expanded the emotional depth of the characters. The range of expression broadened as if it were a live-action film, allowing for a more realistic and three-dimensional depiction of the characters than I could have imagined.

SUGIMOTO Hodaka