Mubi:
The remarks on Jun Kurosawa’s works have been focusing on his impulse of destruction, which are expressed in degenerative keywords such as “death” and “thanatos”: whereas aesthetical images are also often mentioned. Is it because his distinct features help them to establish such images?

Fragment.for.K.S.2019.Jun.Kurosawa.mp4

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Container:	MPEG-4
Runtime:	2mn 09s
Size:	39.7 MiB
DXVA:	Incompatible
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Video
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Resolution:	1440x1080
Aspect ratio:	4:3
Frame rate:	23.976 fps
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2.0ch AAC LC @265 kb/s

https://nitro.download/view/57BFCF76050A6B3/Fragment.for.K.S.2019.Jun.Kurosawa.mp4

https://tezfiles.com/file/b35d25887f1cd/Fragment.for.K.S.2019.Jun.Kurosawa.mp4

Language(s):None
Subtitles:None

Many thanks to @Evan for this copy

The post Jun Kurosawa – Fragment # for K.S (2019) first appeared on Cinema of the World.

mubi:
As the filmmaker metaphorically represents the “romanticism as love towards mineral,” they are gathered through the act of shooting (the physical movements on camera) and they are a collection of images being put in the film; these meanings are to be interpreted by the audience.

Parlez-moi d amour (1989) - Jun Kurosawa.mp4

General
Container:	MPEG-4
Runtime:	3mn 49s
Size:	145 MiB
DXVA:	Incompatible
Minimum settings:	Not met
Video
Codec:	AVC
Resolution:	1440x1080
Aspect ratio:	4:3
Frame rate:	23.976 fps
Bit rate:	5 017 kb/s
Audio
2.0ch AAC LC @265 kb/s

https://nitro.download/view/D1B5B0728551A0A/Parlez-moi_d_amour_(1989)_-_Jun_Kurosawa.mp4

Language(s):None
Subtitles:None

Many thanks to @Evan for this copy

The post Jun Kurosawa – Parlez-moi d’amour (1989) first appeared on Cinema of the World.

Sporadic, quick-moving shots of light passing through and bouncing off different materials. We see the reflections and shadows caused by the different things it hits. I would say this was almost too simple, but the child-like soundtrack gives it an air of playfulness. It feels like being six years old and messing around with things that aren’t toys because you’re curious. It’s the very definition of simple but sweet.

SURFACE.1989.JUN.KUROSAWA.mp4

General
Container:	MPEG-4
Runtime:	3mn 5s
Size:	113 MiB
DXVA:	Incompatible
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Video
Codec:	AVC
Resolution:	1440x1080
Aspect ratio:	4:3
Frame rate:	23.976 fps
Bit rate:	4 863 kb/s
Audio
2.0ch AAC LC @265 kb/s

https://nitro.download/view/4C75A188FC32BD6/SURFACE.1989.JUN.KUROSAWA.mp4

Language(s):None
Subtitles:None

Many thanks to @Evan for this copy

The post Jun Kurosawa – Surface (1989) first appeared on Cinema of the World.

From DVD booklet:
The works recorded here are made by Jun Kurosawa mainly in his years
at university.
The remarks on Jun Kurosawa’s works have been focusing on his
impulse of destruction, which are expressed in degenerative keywords
such as “death” and “thanatos”: whereas aesthetical images are
also often mentioned. Is it because his distinct features help them to
establish such images? The features can be described as “film scratch”
and “harsh noise,” all of which can be found in his masterpieces such
as “NEKO-MIMI (1994)” and “JESUS WITH ONE LEG (1991-1994).”
The viewpoint regarding the world through lense; an object divided
into parts by recording frame by frame; the sunlight shining on the
surface of different things; and daily things that remind viewers of
Jonas Mekas’s films; the shadow of light stick to the film by camera
and disposure… All these films seem to be too sensitive because
they pursued the mystery and beauty of film as a substance. If we pay
attention to their formal features, they could be summarized by words
like “structural” and “diary.”
The combination of the selection of subjects and calculated trick
shooting in each film, alongside with the music composed by the
filmmaker truly implied something. But still, the meaning is ambiguous
and cannot be described with words.
As the filmmaker metaphorically represents the “romanticism as love
towards mineral,” they are gathered through the act of shooting (the
physical movements on camera) and they are a collection of images being put
in the film; these meanings are to be interpreted by the audience.

COMPOSITION.1989.JUN.KUROSAWA.mp4

General
Container:  	MPEG-4
Runtime: 	2 min 36 s
Size: 	96.1 MiB
Video
Codec: 	AVC
Resolution: 	1440x1080 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 4 888 kb/s	
BPP: 	0.131
Audio
#1:  	2.0ch AAC LC @265 kb/s

https://nitro.download/view/570062804A58D1F/COMPOSITION.1989.JUN.KUROSAWA.mp4

Language(s):No dialogue
Subtitles:None

Many thanks to @Evan for this copy

The post Jun Kurosawa – COMPOSITION (1989) first appeared on Cinema of the World.

From DVD booklet:
The works recorded here are made by Jun Kurosawa mainly in his years
at university.
The remarks on Jun Kurosawa’s works have been focusing on his
impulse of destruction, which are expressed in degenerative keywords
such as “death” and “thanatos”: whereas aesthetical images are
also often mentioned. Is it because his distinct features help them to
establish such images? The features can be described as “film scratch”
and “harsh noise,” all of which can be found in his masterpieces such
as “NEKO-MIMI (1994)” and “JESUS WITH ONE LEG (1991-1994).”
The viewpoint regarding the world through lense; an object divided
into parts by recording frame by frame; the sunlight shining on the
surface of different things; and daily things that remind viewers of
Jonas Mekas’s films; the shadow of light stick to the film by camera
and disposure… All these films seem to be too sensitive because
they pursued the mystery and beauty of film as a substance. If we pay
attention to their formal features, they could be summarized by words
like “structural” and “diary.”
The combination of the selection of subjects and calculated trick
shooting in each film, alongside with the music composed by the
filmmaker truly implied something. But still, the meaning is ambiguous
and cannot be described with words.
As the filmmaker metaphorically represents the “romanticism as love
towards mineral,” they are gathered through the act of shooting (the
physical movements on camera) and they are a collection of images being put
in the film; these meanings are to be interpreted by the audience.

	
REQUIEM.1989.JUN.KUROSAWA.mp4

General
Container:  	MPEG-4
Runtime: 	13 min 37 s
Size: 	514 MiB
Video
Codec: 	AVC
Resolution: 	1440x1080 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	5 003 kb/s
BPP: 	0.134
Audio
#1:  	2.0ch AAC LC @ 265 kb/s

https://nitro.download/view/F4D42E31FD79D41/REQUIEM.1989.JUN.KUROSAWA.mp4

Language(s):No dialogue
Subtitles:None

Many thanks to @Evan for this copy

The post Jun Kurosawa – REQUIEM (1989) first appeared on Cinema of the World.

Quote:
Un Ange Passe (idiom: “used to indicate that one has noticed a long silence, especially a pause in a conversation”) is a science fiction about a girl who survived after a nuclear fallout at the end of 20th century. She tries to communicate with others by using a future gadget, but she misunderstands the contacts from others as a delusion and makes an imaginary character in her mind.

Quote:
Born in 1964, Jun Kurosawa studied art science at the Tama Art University. While in college, he learned filmmaking by Sakumi Hagiwara. After graduation, he related not only to Japanese experimental film movements but also to Japanese contemporary art scene. His works contains a wide variety of artistic genres: industrial-music, performances, and opera.

Un.Ange.Passe.1995.Jun.Kurosawa.mp4

General
Container:  	MPEG-4
Runtime: 	14 min 11 s
Size: 	93.7 MiB
Video
Codec: 	AVC
Resolution: 	640x480 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	788 kb/s
BPP: 	0.107
Audio
#1:  	2.0ch AAC LC @ 128 kb/s

https://nitro.download/view/FCC284FF15A1962/Un.Ange.Passe.1995.Jun.Kurosawa.mp4

Language(s):French
Subtitles:English

Many thanks to @Evan for this copy

The post Jun Kurosawa – Un Ange Passe (1995) first appeared on Cinema of the World.

From DVD booklet:
The works recorded here are made by Jun Kurosawa mainly in his years
at university.
The remarks on Jun Kurosawa’s works have been focusing on his
impulse of destruction, which are expressed in degenerative keywords
such as “death” and “thanatos”: whereas aesthetical images are
also often mentioned. Is it because his distinct features help them to
establish such images? The features can be described as “film scratch”
and “harsh noise,” all of which can be found in his masterpieces such
as “NEKO-MIMI (1994)” and “JESUS WITH ONE LEG (1991-1994).”
The viewpoint regarding the world through lense; an object divided
into parts by recording frame by frame; the sunlight shining on the
surface of different things; and daily things that remind viewers of
Jonas Mekas’s films; the shadow of light stick to the film by camera
and disposure… All these films seem to be too sensitive because
they pursued the mystery and beauty of film as a substance. If we pay
attention to their formal features, they could be summarized by words
like “structural” and “diary.”
The combination of the selection of subjects and calculated trick
shooting in each film, alongside with the music composed by the
filmmaker truly implied something. But still, the meaning is ambiguous
and cannot be described with words.
As the filmmaker metaphorically represents the “romanticism as love
towards mineral,” they are gathered through the act of shooting (the
physical movements on camera) and they are a collection of images being put
in the film; these meanings are to be interpreted by the audience.

A Film That Uses a Cheap Wine Glass to Consider Light (1989) - Jun Kurosawa.mp4

General
Container:  	Matroska
Runtime: 	2 min 30 s
Size: 	91.1 MiB
Video
Codec: 	AVC
Resolution: 	1440x1080 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	4 816 kb/s
BPP: 	0.129
Audio
#1:  	2.0ch AAC LC 265 kb/s

https://nitro.download/view/A87AD635E361ECC/A_Film_That_Uses_a_Cheap_Wine_Glass_to_Consider_Light_(1989)_-_Jun_Kurosawa.mp4

Language(s):No dialogue
Subtitles:None

Many thanks to @Evan for this copy

The post Jun Kurosawa – A Film That Uses a Cheap Wine Glass to Consider Light (1989) first appeared on Cinema of the World.