The documentary film "Frida Kahlo's Legacy: Ishiuchi Miyako, Weaving," which follows world-renowned photographer Ishiuchi Miyako as she photographs the belongings of Frida Kahlo, Mexico's leading modern Mexican painter, at her birthplace in Mexico, is scheduled for nationwide release in August. Appearing on the cover of fashion magazine Vogue and as the face of CABANE de ZUCCa in Japan, Frida was an iconic figure who captivated the world. However, at heart, despite her acclaimed surrealist artist in Europe, she was a passionate woman who bore lifelong pain and was tossed about by the turbulent waves of Mexican modernization, while also experiencing many passionate love affairs and experiencing physical disabilities. In this film, Ishiuchi photographs her belongings, which continue to inspire many women today, in the natural light of Mexico, to reveal a new image of Frida Kahlo that no one could have imagined. In Mexico, where life and death coexist, the two artists crossed paths across time and space, capturing not the past but the present.


These belongings embody Frida's memories, a woman who continued to paint the very essence of life. The sheer number of these belongings is enormous, ranging from the traditional clothing and accessories that underpinned her identity to corsets and medicines that evoke the constant physical pain she endured.

After spending three weeks poring over Frida's belongings, Ishiuchi had these words when asked to reflect on her time:

"There are many passionate Frida fans, but to be honest, I'm not that big of a fan and only have general knowledge. But since I was going to take the photos, I read all the books about her and went to the location to get my materials. The Frida I saw in the books was completely different from the Frida I met.

That's because a photograph clearly reflects the photographer's "perception." Even if you photograph the same thing, it will look completely different depending on the photographer. In one book, a corset was photographed as if it were a lump of flesh, and I thought that was disappointing, realizing that this is how female artists are perceived. When a woman expresses herself, sometimes only the scandal is emphasized and that alone creates an image. Frida in particular was a woman with many romantic relationships, so she was photographed as a mass of carnal desire.

These prejudices haven't fundamentally changed even today. I've been told all sorts of things about her. But like me, it didn't matter to Frida what people said. She had so much to do and didn't have time to be involved in public gossip.

I also went to Mexico with this constructed image in mind, but I was lucky enough to meet Frida there. Whether the Frida I met was the real deal is another matter. But she was different from the image I had up until then."

This film captures Frida from a different angle than the image we have had up until now. The director is Otani Tadanori, who has received high praise both in Japan and overseas for his documentary film, "The Cat That Lived a Million Times." Attention is likely to be focused on the unknown side of Frida Kahlo, beloved by so many fans.

"Frida Kahlo's Legacy - Ishiuchi Miyako, Weaving" will be released in August at Theater Image Forum and other theaters nationwide.