Asian

Ryoji, a wanderer, arrives in a remote mountain town, carrying a shotgun and claiming to be a hunter. He quickly becomes embroiled in a web of trouble surrounding the town’s mill. Read More »

This is an adaptation of Stefan Zweig’s story “Letter from an unknown woman” to China settling in a time period before the cultural revolution (1930-1948).

Plot:
Peking, 1948. A winter night. A man returns home to find a letter awaiting him written by a woman before her death. in the letter she tells him the story of her love for him – a life-long passion that has not diminished over time, but one that he has never known. Her story spans 18 years from the moment she -then a 13 year-old girl- sets her eyes on her new neighbor. She tells their brief but passionate love in her youth and the hardship she goes through raising their child alone, and their final encounter after the war, during which the man fails to recognize her and one which leaves her in despair. Now having lost her son, she no longer has the courage to live on. Only in a letter is she capable of telling him everything, for the first and the last time. Shaken by the letter, the man searches his memory for the nameless woman…Read More »

Longtime Koreeda cinematographer (Nobody Knows, After Life) Yutaka Yamazaki’s first directorial effort, Torso, plows some similar ground to Koreeda’s Air Doll, but to much different effect. Torso covers the relationship between two half-sisters. The older one, Hiroko (Makiko Watanabe) is an uptight, disengaged urban survivor, whose only relationship is with an inflatable male torso. Her secret life of bathing, frolicking and having sex with this headless, armless and legless prosthetic is rudely interrupted when her half-sister, Mina (Sakura Ando) – all extroverted enthusiasm and blabber – appears at her doorstep running from her abusive boyfriend, the one person, or rather body, that never physically appears in the film. The torso and continuing variations of objectified bodies – perfume bottles, pillows, a dress-making mannequin and a gravure idol – becomes the underlying leitmotif of this sensitively rendered portrait of how individuals come to terms with their issues and problems. The “strange” sexuality of blow-up doll attraction is rendered somewhat positively. Watanabe and Ando are perfectly cast and directed with a strained chemistry that at once binds and separates them.Read More »

Plot Outline: A groups of Korean anarchists in 1920s China are determined to overthrow the military and government. Read More »

Synopsis:
Zaizen Goro may only be an assistant professor but he has already made a name for himself. His superior, however, does not approve of his attitude towards their profession, and is at odds over who to nominate as his successor. The selection of the new professor reveals a rich and complex political world inside Naniwa University.Read More »

A childless middle-aged couple faces a marital crisis of sorts.

Quote:
Taeko (Michiyo Kogure) despises and regularly deceives her quiet, saturnine husband, Mokichi (Shin Saburi), who works as a corporate executive and who only seems to come alive when visiting bars, racetracks, and arcades with a younger friend. Meanwhile, Taeko’s niece, Setsuko (Keiko Tsushima), resolves not to accept an arranged marriage and end up in an unloving relationship like that of her aunt and uncle. Read More »

Synopsis:
A look at how two young lovers from totally [checklist][/checklist][checklist][/checklist]different background cope with family and social pressure.

19-year old Ah Loong is in charge of a street stall selling pirated vcd’s. Contrary to what you might expect someone of his social standing to be, Ah Loong is an incurable romantic with an unlikely hobby – he loves to read and write poetry. Quite contented to carry on being the Romeo of the slums, Ah Loong’s life takes a sudden turn one day when a 16-year old Malay schoolgirl arrives at his stall in search of Wong Kar-Wai’s films.
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Quote:
The third film that Naruse made in 1950, White Beast (Shiroi yaji, 1950), was described by Kinema Junpo critic Tsumura Hideo three years later as “so indescribably miserable as to haunt me even today.” Tsumura represents the bulk of Japanese critics of the time, who felt that Naruse experienced a terrible slump throughout the 1940s and this film seemed to be the “bottom of the ocean.” The critical establishment was clearly not prepared to accept a woman’s prison film featuring former prostitutes recovering from venereal diseases, unwanted pregnancies, and estranged lovers. With its catfights, hysterical tantrums, film noir lighting, and dramatic music, White Beast is indicative of the new influences of the Hollywood psychological thriller on Naruse. Caged (John Cromwell, 1950) initiated a cycle of women’s prison movies in the United States that may or may not have been shown in Japan, but the stylistics of White Beast draw on the same paranoid woman’s films and film noir conventions that preceded the American cycle.Read More »

a review
by Ian Jane

I don’t know what it is with Japanese cinema and it’s affinity for violence and cruelty, but man, when they pull out all the stops they sure do a damn good job of grossing me out. This movie, Shogun’s Sadism (Ushiaki No Kei), is one of those times.

Essentially what we have are two stories, totally unrelated to each other, that exist for the soul reason of piecing together assorted scenes of torture. You see, back in the sixties there was a very popular series of films entitled The Joy Of Torture (Tokugawa Onna Keibatsu-Shi) directed by Teruo Ishii. This series ran for a total of eight volumes and proved to be quite successful. Toei Studios cashed in with this film, directed by Yuji Makiguchi (which some people believe was a pseudonym for Tereo Ishii) and gave it a similar title – the film is also known as Oxen Split Torturing.Read More »