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Not only because many of the lines from Uncle Vanya (which we see performed throughout) mirror Kafukus emotional crisis which Nishijima buries beneath a stoic faade that begins to shift and slip at key moments, sometimes for fractions of a second but because the way Hamaguchi captures and directs his actors feels directly descended from Russian theater director Konstantin Stanislavski, who staged many of Chekhovs plays (and whose acting system would eventually influence modern method acting)

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