Ugandan Asylum Seeker's Samurai Film in Japan

Sunday's film, titled 'Sunday in Japan', delves into the experiences of asylum seekers and their treatment in the country.

He assumes multiple roles in the production, acting as the director, lead actor, and star, ensuring the narrative closely reflects his personal journey.

Sunday arrived in Japan around 2009, initially intending to work for about five years and then return to Uganda.

However, a deteriorating political climate in his home country, marked by arrests, made his return unsafe.

Despite seeking refuge, Sunday recounts being subjected to treatment akin to a criminal by the Japanese immigration system.

He intentionally dresses his character in colorful, non-traditional attire to symbolize a commitment to fostering peace and stopping violence rather than engaging in combat.

Arriving in the 16th century with Portuguese missionaries from Mozambique, Yasuke serves as a historical parallel to Sunday’s own experience in Japan.

He highlights the public's fascination with Yasuke upon his arrival at the port of Nagasaki, drawing a parallel to his own experiences as a Black man in Japan.

Sunday integrates his personal experiences with immigration enforcement, such as raids at a scrapyard, into his film.

He illustrates the tactics used by officers to surround locations and block potential escape routes.

The film captures the relentless and threatening reality of being constantly pressured to return to one's home country.

Sunday is currently pursuing his third refugee application in Japan.

His legal advisors caution that under new immigration laws, set to take effect next June, a third failed application could lead to deportation.

They underscore the urgent need to submit new and compelling evidence to support his case.

Sunday received a letter indicating that his immigration case has been reviewed, a development that came after he had prepared for a potential rejection.

The letter instructed him to bring photos and his passport, details that he views with cautious optimism.

Despite the uncertainty, Sunday maintains a positive outlook, asserting that asylum seekers are not criminals.

Sunday commenced the filming of his samurai project, involving a diverse cast of both foreign and Japanese actors.

The film, centered on the story of Yasuke, fosters a sense of pride among participants for creating an original work together.

This collaborative creative process helps integrate Sunday into Japanese society, building connections through shared artistic endeavor.

Sunday is preparing for potential legal action, including a court appeal, should his current immigration review be unsuccessful.

He underscores his status as a political refugee and a father, highlighting humanitarian grounds for remaining in Japan under Japanese law.

The inability to work legally to support his children poses significant challenges, adding to the pressure of his uncertain legal status.

Sunday interprets the samurai code, particularly the concept of 'Bushido,' as a deep and complex philosophy centered on taking responsibility for one's actions.

He uses his film as a platform to articulate these values, even as he navigates his precarious existence in Japan.

Sunday's film, 'Lern of Yasuke,' premiered to an audience in Japan, sparking discussions about the challenges and rewards of collaborating on a diverse set.

He explained that the filmmaking process helped him bridge the gap between himself and Japanese society, noting the inherent difficulties in integrating.

After five years of dedicated work, Sunday expressed his hope for the film to achieve viral recognition and reach a wider audience.

Every three months, Sunday must appear before immigration authorities, an ordeal that leaves him in a constant state of tension.

Each visit carries the underlying fear that he might not be allowed to return home to his children, perpetuating his unstable situation.