Monday, September 8 2014
Magic Boy is Japanese animated cinema in the style of Disney.
Friday, April 5 2013
There's a sort of hypnotics at work in Deniz Tortum's Zayiat that hints at the core idea of the story while still keeping that essential kernel of je ne sais quoi intact.
Thursday, August 25 2011
Akira Kurosawa makes a daring attempt to tell an epic story of rich businessmen, determined cops, and the low-end criminals and drug addicts struggling to survive.
Sunday, August 14 2011
Mid-way through our series, Day 5 is a glorious mishmash of international auteurist cinema. Today we go from saints and sinners, from Brookyln to Britain, from the beginning of time to the Dystopian future, and around the world and beyond.
Thursday, July 21 2011
Into this movie's milieu of prison terms, all-night gambling sessions and literal and figurative back-stabbings arrives a dewy young woman named Saeko (pronounced, more or less, 'psycho') who is very young and very tired of life.
Thursday, October 21 2010
The Individual As Institution: Power, Loss and Madness in Kurosawa’s Ran and Shakespeare’s King Lear
By identifying Lear with the ancient Japanese warlord Hidetora, whose violations emerge from a breach of publicly identified self-hood, Akira Kurosawa plays with the quintessentially Shakespearean focus on individual personality.
There are some striking differences not only between the earlier films of Kurosawa and the later films, but in the very different ways that people have responded to these two different groups of films
Today we bring to an end our examination of each of the films of Kurosawa directed in his amazing career. After the ambitious epic Ran, Kurosawa embarked a three smaller but more personal films.
Wednesday, October 20 2010
In the early 1990s, The Hollywood Reporter picked up on an emerging ‘trend’ of what it called cinema vert -- films about ‘green issues’. Kurosawa’s Dreams, though not financed by the American studio system, fits well in this cohort, albeit as the most formally distinct example of this miniature film movement.
The three films featured today represented the director's ascendance to greater international acclaim, even while he struggled to find financing in Japan, where the movie industry was shriveling. All three of these films were made either in whole or in part by Soviet, American, or French financing.