Virginie Despentes’ feminist arguments in her recently rebooted collection of essays, King Kong Theory, remain fresh and frustratingly relevant.
Director D. Mitry talks with PopMatters about his debut feature film, My True Fairytale, whose story aligns with the tragic loss of his daughter.
If punk is for those who reject mainstream culture, then in the music film Sound of Metal, nothing is more punk than radical deaf acceptance.
Today’s Kurosawa 101 focuses on what’s generally regarded as the greatest Japanese film ever made and perhaps the greatest in world film: Seven Samurai.
When Akira Kurosawa made the conversion to a wider screen, he did so by making six consecutive films in widescreen, with a degree of success as resounding as it was influential.
Today’s Kurosawa 101 explores two of the greatest films in Kurosawa’s catalog, Rashomon — the film that made Kurosawa and Japanese cinema known throughout the world — and Ikiru — perhaps the greatest film ever made about impending death.
Through his influences and achievements, Kurosawa became one of the first true international filmmakers, inspiring several generations of filmmakers who would explore notions of genre and identity in film.
In good films and shows with villains as leads, the protagonists’ ethically questionable actions are at least understandable, and perhaps even defensible. Not so in J Blakeson’s ‘I Care a Lot’.
Today’s Kurosawa 101 films include the director’s only effort at bringing a contemporary Japanese stage play to the screen (the rarely seen The Quiet Duel), a police procedural that was the finest Kurosawa film to date (Stray Dog), and a scree against tabloid journalism that resulted in one of the weakest films he would ever direct (Scandal).
Kurosawa’s films often act as deliberate examinations of historical periods, exploring difficult realities that existed and the ordeals of the individuals.