Born in Tokyo, Japan, in 1984, Kenichi Ugana is a Japanese film director and screenwriter who graduated from the Department of Business Administration at Aoyama Gakuin University. Beginning his career in film with his short films, Access (2010) and Smell (2011), Kenichi would break into feature-length titles with Gangro Gal’s Riot (2016), a film based on the Ganguro alternative fashion trend of the late 90s/early 00s.
Since then, Kenichi has produced several films of varying genres, such as the romantic comedy Mahô shônen: Wairudo bâjin (2019), the drama Rolling Marbles (2021), as well as genre-blending films, such as The Gesuidouz (2024), and I Fell in Love with a Z-Grade Director in Brooklyn (2025), to name a few.
Having been lucky enough to have gotten the chance to see many of Kenichi’s works over the years, we got the chance to talk with him about his background, cinematic style, as well as one of his new films, the Japanese-Taiwanese joint production, The Curse (2025).
Could you tell us about your earliest memories of horror films and how they influenced your perspective on the genre?
My mother loved horror movies, and I watched them every day since I was in kindergarten, so I honestly don’t know exactly which one is my earliest memory. But I think I watched Halloween a lot from a young age. That theme song has always stuck in my head.
As an evident fan of the horror genre, what elements captivate you the most when watching?
I think the appeal of movies is that they tell big lies on screen, and I love that horror movies in particular allow you to tell big lies.
What about your upbringing in Tokyo most influences the kinds of stories you want to tell?
Rather than thinking about making the world a better place, I believe that if we make the people around us happy, the world will ultimately become a happier place, and I think that this is partly a Tokyo-style way of thinking.
Many of your films mix elements of horror, fantasy, comedy, and even punk/rock, such as The Gesuidouz (2024) and Extraneous Matters: Complete Edition (2021). What draws you to combining genres, and how do you balance tone in a film that has such disparate elements?
It seems like my generation has already pretty much exhausted both music and movies. I find the method of mashing up the things I love to create something new suits me. I rely on my own intuition for the final decision, but when it comes to constructing something, I do it in a very logical way.
One of your latest films, The Curse (2025), deals with a social media curse that continues to post from a deceased person’s account, among other supernatural elements. What led you to that premise?
I’ve been thinking for a long time that the environment surrounding social media has become too excessive recently. At that time, a friend of mine said, “Friends who are supposed to be dead are updating their accounts as if they’re still alive.” I decided to combine these two elements and make a film about it.
How did you research contemporary online behaviour, rumour, grief, and identity in digital space to inform the story? Were there specific real-world stories that inspired you?
I did research into the negative emotions on the internet and the events that occurred, but the emotions were very dark. I did a lot of research, but I only used it as a base, and when I was writing the script I was conscious of making it my own unique story.
What do you hope audiences walk away thinking, feeling, or reconsidering after watching The Curse (or your films more broadly)?
Once a film is released, it belongs to the audience, so I think it’s up to them to react however they want. However, this time I’m depicting the dark side of social media, so I’d be very happy if people could enjoy it as entertainment while also feeling that fear.
You have been travelling around the world attending film festivals over the last few years. What titles or directors have caught your attention during this time?
There are many, but I was particularly inspired by Coralie Fargeat and John Hsu, who were in the same section at last year’s [2024’s] Toronto International Film Festival.
What is the best way for people to keep up to date with what you are working on? Are there any upcoming projects you would like to mention?
Ironically, the best way to keep up with my latest news is through my social media lol [Instagram, Twitter]. After “The Curse“, my film “Incomplete Chairs“, a story about making chairs out of human materials, had its world premiere at the Slash Film Festival. I also just recently finished post-production on a body horror film about the love between a parent and child. I’m also planning to shoot a sci-fi action musical romantic comedy in November.
Grimoire of Horror would like to thank Kenichi Ugana for taking the time to talk with us
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Hey there, I’m Jim and I’m located in London, UK. I am a Writer and Managing Director here at Grimoire of Horror. A lifelong love of horror and writing has led me down this rabbit hole, allowing me to meet many amazing people and experience some truly original artwork. I specialise in world cinema, manga/graphic novels, and video games but will sometime traverse into the unknown in search of adventure.