Tadanobu Asano

  • Katsuhito Ishii – Samehada otoko to momojiri onna AKA Shark Skin Man And Peach Hip Girl (1998)

    1991-2000AsianCultJapanKatsuhito Ishii

    While escaping from the clutches of her sexually warped uncle, Toshiko meets Samehada who pos up in front of her in his underpants. The dude is also escaping from the gangsters he has stolen a pile of loot from, and the two make a daring escape together with the gangster thugs and the little weird guy the uncle sends on their trail. Ultra-violence, bizarre sex, and killer costumes ensue.Read More »

  • Gen Sekiguchi – Survive Style 5+ (2004)

    2001-2010AsianComedyGen SekiguchiJapan

    A man continually trying and failing to get his wife to stay dead; a self-absorbed ad agency creative director who comes up with one unworkable inane idea after another; a British hitman who only wants to know everyone’s function in life; and an unfortunate office worker and father whose brain is left scrambled after a stage hypnotist is murdered in mid-performance. Starting off as unrelated plot lines, they intertwine with each other as they continue on their respective ways.Read More »

  • Shinji Aoyama – Sad Vacation (2007)

    2001-2010AsianDramaJapanShinji Aoyama

    Kenji, abandoned by his mother, scrapes out a meager existence doing odd jobs including driving bar hostesses and their customers home. Besides this he takes care of the sister of an old friend in jail and a young illegal immigrant. But his life reaches a turning point when he happens to meet Chiyoko, his long lost mother. She is now married to Mamiya, the owner of an express package delivery service. They also have a teenage son, Yusuke. Subdued feelings of alarm, discomfort and resentment between Chiyoko, Kenji, and his half brother Yusuke hide underneath and are seemingly caused by the inseparable blood ties that seem to wield control over everyone’s destiny. Is blood that powerful? What exactly defines a mother or a father? While Kenji struggles with these questions and attempts to escape his fate, Chiyoko seems content to let these issues unfold and find a solution. Where will it ultimately lead them?Read More »

  • Hsiao-Hsien Hou – Kôhî jikô AKA Café Lumière (2003)

    2001-2010DramaHsiao-hsien HouJapan

    Quote:
    Hou’s latest film continues in a similar vein Cafe Lumiereof hermetic environment and translucently slight narrative that have come to define his later, apolitical (and largely transitional) works (beginning with The Flowers of Shanghai). Opening with the reassuringly familiar sight of the Mount Fuji Shochiku logo that can be seen at the beginning of many of Yasujiro Ozu’s films as well as a train traversing a horizon demarcated by power lines at dusk, Café Lumière then sharply diverges from Ozu’s familiar camerawork and images of Japan in the film’s inherent asymmetry, aesthetically irregular compositions, awkward angles (during the parents’ visit in Yoko’s apartment, Hou seemingly attempts an Ozu-like low angle then, faced with a troublesome, truncated image of the stepmother standing in the foreground, inexplicably pans up to reveal her face before resuming the low angle), and opaque and unengaging characters (except for Yoko’s stepmother, played by Kimiko Yo). Read More »

  • Yôji Yamada – Kaabee aka Our Mother (2008)

    Drama2001-2010JapanYôji Yamada

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    Quote:
    Based on Nogami Teruyo’s memoirs, Kaibei follows a normal, loving family as their innocent, bustling lives are forever transformed by the war. Veteran actress Yoshinaga Sayuri is the picture of dignity and grace as a strong and elegant woman who holds her family together in her husband’s absence, while acclaimed actor Asano Tadanobu disappears into the role of an awkward, affable writer who becomes the unlikely hero for a struggling family.Read More »

  • Chinlin Hsieh – Flowers of Taipei: Taiwan New Cinema (2014)

    2011-2020AsianChinlin HsiehDocumentaryTaiwan

    Synopsis

    In 1982 a small group of Taiwanese filmmakers reinvented Asian cinema, among them, Hou Hsiao-Hsien, Edward Yang. Travelling from Europe to Latin America to Asia, Flowers of Taipei sets out to assess the global influence of Taiwan New Cinema.Read More »

  • Hirokazu Koreeda – Maboroshi no hikari (1995)

    1991-2000ArthouseDramaHirokazu KoreedaJapan

    Quote:
    A young woman’s husband apparently commits suicide without warning or reason, leaving behind his wife and infant.Read More »

  • Kiyoshi Kurosawa – Akarui Mirai AKA Bright Future [Extra] (2003)

    2001-2010AsianDocumentaryJapanKiyoshi Kurosawa


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    A documentary was made during the production process of Bright Future, called Aimai Na Mirai (Ambivalent Future). It was released in theaters in Japan and it’s available on the Japanese DVD release of Bright Future. The documentary was not so much a making-of as an interpretation of your work, with Bright Future functioning as a case study. What did you think when you saw it?

    I didn’t watch it so attentively, because I felt a bit embarrassed about watching myself. I kept thinking “What a liar this director is!” (laughs). And I understood the difference between documentary filmmakers and fiction filmmakers. Documentarists shoot elements of reality, and after that in post-production they try to turn it into a lie as much as possible. Directors like me who make fiction – and I’ve never made a documentary – we deal with fictional elements such as the script, but after that we try to make them as close to reality as possible, and try not to lie as much possible. It’s the complete opposite.

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