• Yasuo Furuhata – Isan sôzoku AKA Estate Inheritance (1990)

    The unexpected death of Fujishima Motoharu, president of a medium-sized firm, triggers a fierce battle over his estate inheritance among family members.Read More »

  • Kenji Mizoguchi – Waga koi wa moenu AKA Flame of My Love (1949)

    A woman’s struggle for equality in Japan in the 1880s. Eiko Hirayama leaves Okayama for Tokyo, where she helps the fledgling Liberal Party and falls in love with its leader Kentaro Omoi, just as the party is being disbanded by the government. Eiko and Omoi are jailed because of a fire at a factory instigated by Chiyo, a servant girl from Eiko’s home in Okayama, who was sold to slavery. A few years later the 1889 constitution is proclaimed, Eiko, Omoi, and Chiyo are pardoned, and the Liberal Party is reinaugurated. However Omoi does not campaign for women’s rights. – imdbRead More »

  • Shin’ichirô Ueda – Kamera o tomeru na! AKA One Cut of the Dead (2017)

    Things go badly for a hack director and film crew shooting a low budget zombie movie in an abandoned Second World War Japanese facility, when they are attacked by real zombies.Read More »

  • Tai Katô – Ayame kasa: kenka kaidô aka Road Warriors (1960)

    Wandering gambler movie filled with humor and compassion. An odd couple of a gangster and a masterless samurai becomes involved in a variety of events as they travel.

    Rare film from Tai Kato, one of the all-time greats.Read More »

  • Yoshimitsu Morita – Pink cut: Futoku aishite fukaku aishite aka Pink Cut: Love Me Hard, Love Me Deep (1983) (HD)

    A light comedy which celebrates youth’s freedoms, aspirations, and boundless energy. Mayumi and Mai are hair stylists who open a Barber shop called The Pink Cut. The place is an immediate success, due mostly to their super-short skirts. When the girls decide to stop wearing underpanties, business goes thru the roof. Eventually Main and Mayumi add special massages and cream rinses to their list of extras. The girls laugh all the way to the bank. Ah, the joys of entrepreneurship!Read More »

  • Masahiro Makino – Hanako-san AKA Miss Hanako (1943)

    Masahiro Makino’s attempt at a Busby Berkeley-style musical. Quality is mediocre (much better than the older version we had though), but the film is a true revelation! It combines the elaborate kaleidoscopic choreography of Berkeley musicals with a charming down-to-earth comedy narrative.Read More »

  • Yûjirô Harumoto – Yûko no tenbin AKA A Balance (2020)

    Documentary director Yuko portrays a school violence incident from three years ago that resulted in suicides, while she was teaching classes at her father’s cram school. As her documentary project progresses, Yuko discovers a hidden truth and becomes deeply involved in the lives of the families pained by that secret truth.Read More »

  • Kinuyo Tanaka – Ogin-sama AKA Love Under the Crucifix (1962)

    Rouven Linnarz wrote:
    Although she would go on to make feature films as an actress, Kinuyo Tanaka’s last project as a director would be the 1963 jidaigeki “Love Under the Crucifix”, a work based on the novel “Ogin-sama” by Toko Kon. At the same time, given her development as a filmmaker, this is truly an interesting climax to a career which saw her progressing more and more, developing her skills, especially when it comes to cinematic storytelling. Additionally, the themes that defined her previous works such as “Love Letter” and “Forever a Woman” also found a fitting conclusion in a feature that, even though it was not set in the present as her other movies, it certainly made a very relevant point about gender roles within Japanese society as well as the conflict between duty and desire as expressed in the story of the main characters.Read More »

  • Yuki Kawamura – Norie (2019)

    Yuki lost his mother after a long illness, when his sister and him were still children. For loved ones, she is now only a distant voice, a foreign face on photos, a ghost who visits them in their dreams, an increasingly blurred memory. Munemitsu, his father, has done all he could to fill this unfathomable emptiness, even forgetting. But to no avail, given that Norie is still there, like a latent and sprawling presence, entwining the invisible bonds of the family. But who really was Norie ? To answer this question, the director Yuki asks his father to accompany him to the annual festival of the dead, to retrace the portrait of this woman—who one day—was his mother, as well as the mad love that his father carries for her. Throughout this epiphanic journey, Yuki and Munemitsu discover each other. They are no longer just father and son, but two men facing the pain of loss. The director builds, with extreme delicacy, a film on the complexity of family relationships, on transmission, on love. A poetic journey through the sprits that continue to live in the memory of others.
    Elena López RieraRead More »

Back to top button