Nicolas Winding Refn, the Danish director known for his distinctive style, is poised to return to feature filmmaking after a foray into limited series for streaming platforms. Refn revealed to Variety that his upcoming project will be shot in Tokyo, blending English and Japanese languages. This will be his first feature film since 2016’s The Neon Demon.
Currently attending the Venice Film Festival, Refn is showcasing two projects: the world premiere of his short film Beauty Is Not a Sin, produced by Art + Vibes for MV Agusta, and a retrospective screening of his 1996 debut Pusher as part of Venice Classics.
Despite previously declaring cinema’s demise, Refn now views his return to filmmaking as an act of “defiance” against the chaotic backdrop of today’s industry. “It’s a fascinating time for cinema,” he remarked, “and creating a theatrical feature now feels like a timely response to the drastic changes in society and technology over the past five years.”
Refn’s new film, financed and set to shoot next year, remains shrouded in secrecy, though he promises it will be filled with “glitter, sex, and violence.” He acknowledges his penchant for self-indulgence in creativity but embraces it as part of his artistic identity. The film is expected to echo themes and aesthetics from his previous works, Only God Forgives and The Neon Demon, both of which stirred buzz at the Cannes Film Festival.
In addition to his cinematic endeavors, Refn is exploring two other projects, including one related to gaming. He’s intrigued by the evolving possibilities of this art form, pondering how the world might look if computer games had preceded traditional filmmaking.
Commenting on his retrospective screenings at Venice, Refn found it surreal to revisit his past works, viewing them as reflections of both his future and past. He also predicted that Beauty Is Not a Sin might pave the way for more commercials to seek prestigious film festival spots, seeing branded content as a new frontier for filmmakers.
Observing the U.S. presidential race, Refn likened it to the “world’s greatest reality show” and expressed a cynical view of the political landscape. He believes that in times of global strife, artists have a crucial role in making the world a bit more bearable.