One thing that Japanese cinema seems to lack particularly lately is tension, with the majority of movies going out of the country following the calm and smooth road the festival-darling directors have paved for the most part. As such, it is always a pleasure to watch movies that do bring much tension in the narrative, with Masato Harada proving once more, after “Hell Dogs” and “Sekigahara”, that knows how to handle the particular aspect. Let us see how the rest of the film fares though.
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Adapted from Hiroyuki Kurokawa's 2015 novel, “Keiso” (“Weeds”) the story focuses on Neri, a swindler who works for Takagi, a local mafia boss with ties to the political world, conning elderly with her group of ragtag “catchers”, as she calls them probably in “underground” slang. Neri tries to lay low as much as she can,...
Click the image below to follow our Tribute to Netflix
Adapted from Hiroyuki Kurokawa's 2015 novel, “Keiso” (“Weeds”) the story focuses on Neri, a swindler who works for Takagi, a local mafia boss with ties to the political world, conning elderly with her group of ragtag “catchers”, as she calls them probably in “underground” slang. Neri tries to lay low as much as she can,...
- 1/9/2024
- by Panos Kotzathanasis
- AsianMoviePulse
Executive started in local-language production at Warner Bros.
Bill Ireton is stepping down from his position overseeing local production at Sony Pictures International Productions, Japan to launch an independent production venture.
Effective January 1, 2023, Ireton will develop and produce content for multiple platforms, primarily based on IP from Japan for audiences around the world.
At Sony Pictures, he shepherded production on a roster of features including Hell Dogs starring Junichi Okada under the direction of Masato Harada; I Am Makimoto starring Sadao Abe; and Violence Action, currently streaming on Netflix.
“Making movies with Sony Pictures over the past four years has...
Bill Ireton is stepping down from his position overseeing local production at Sony Pictures International Productions, Japan to launch an independent production venture.
Effective January 1, 2023, Ireton will develop and produce content for multiple platforms, primarily based on IP from Japan for audiences around the world.
At Sony Pictures, he shepherded production on a roster of features including Hell Dogs starring Junichi Okada under the direction of Masato Harada; I Am Makimoto starring Sadao Abe; and Violence Action, currently streaming on Netflix.
“Making movies with Sony Pictures over the past four years has...
- 12/23/2022
- by Screen staff
- ScreenDaily
Click here to read the full article.
Veteran Japan-based production executive Bill Ireton is departing Sony Pictures International Productions to launch his own indie venture. Ireton says the new company will leverage his longstanding industry relationships in Tokyo and Hollywood to develop and produce content for multiple global platforms, primarily based on I.P. from Japan. The new venture, which hasn’t yet revealed its name, will begin operation on Jan. 1, 2023.
Ireton started local production for Warner Bros. in Japan in 2007, releasing 49 movies over a seven-year span, including the Rurou ni Kenshin trilogy; Unforgiven, directed by Sang-il Lee and based on the Clint Eastwood movie; and The Straw Shield, directed by Takashi Miike. He was also involved in the production of Eastwood’s Letters from Iwo Jima, starring Ken Watanabe.
During his four-year stint at Sony, Ireton shepherded production on features including Hell Dogs, starring Junichi Okada under the direction...
Veteran Japan-based production executive Bill Ireton is departing Sony Pictures International Productions to launch his own indie venture. Ireton says the new company will leverage his longstanding industry relationships in Tokyo and Hollywood to develop and produce content for multiple global platforms, primarily based on I.P. from Japan. The new venture, which hasn’t yet revealed its name, will begin operation on Jan. 1, 2023.
Ireton started local production for Warner Bros. in Japan in 2007, releasing 49 movies over a seven-year span, including the Rurou ni Kenshin trilogy; Unforgiven, directed by Sang-il Lee and based on the Clint Eastwood movie; and The Straw Shield, directed by Takashi Miike. He was also involved in the production of Eastwood’s Letters from Iwo Jima, starring Ken Watanabe.
During his four-year stint at Sony, Ireton shepherded production on features including Hell Dogs, starring Junichi Okada under the direction...
- 12/23/2022
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
Tokyo-based production executive Bill Ireton is stepping down from his role at Sony Pictures International Productions, Japan, where he oversaw local production, to launch an independent production venture effective January 1, 2023.
The new venture will develop and produce content for multiple platforms, primarily based on Japanese I.P. for audiences around the world.
During his time at Sony, Ireton oversaw production on a slate of Japanese-language features, including Hell Dogs, starring Junichi Okada and directed by Masato Harada; I Am Makimoto, starring Sadao Abe, and Violence Action, which is currently streaming on Netflix.
“Making movies with Sony Pictures over the past four years has been a wonderful experience which has helped catapult this thrilling new chapter of my career,” said Ireton.
Sanford Panitch, President of Sony Pictures’ Motion Picture Group, said: “I want to thank Bill for his work the past few years. The making of Japanese films continues to be...
The new venture will develop and produce content for multiple platforms, primarily based on Japanese I.P. for audiences around the world.
During his time at Sony, Ireton oversaw production on a slate of Japanese-language features, including Hell Dogs, starring Junichi Okada and directed by Masato Harada; I Am Makimoto, starring Sadao Abe, and Violence Action, which is currently streaming on Netflix.
“Making movies with Sony Pictures over the past four years has been a wonderful experience which has helped catapult this thrilling new chapter of my career,” said Ireton.
Sanford Panitch, President of Sony Pictures’ Motion Picture Group, said: “I want to thank Bill for his work the past few years. The making of Japanese films continues to be...
- 12/23/2022
- by Liz Shackleton
- Deadline Film + TV
Hell Dogs is a Japanese action movie adaptation of the 2017 manga novel of same title by Akio Fukamachi. The film is written and directed by Masato Harada, starring Junichi Okada, Kentaro Sakaguchi and Mayu Matsuoka.
Premise
The police officer Shogo Kanetaka, suffers from trauma when his loved one was murdered. All Shogo has on his his mind now is revenge. He then receives an order to go undercover as a yakuza member. The police instructs Shogo to pick a fight with yakuza member Hideki Murooka as a stepping stone to gain entrance into the organization. The police have data that shows Shogo is matched with Hideki 98. Meanwhile, Hideki is the son of a death-row convict. He has a physical condition, where is he always hungry and constantly eating. Also, neither her nor the yakuza can control his emotions.
Director
Masato Harada
Cast
Junichi Okada / Shogo Kanetaka
Kentaro Sakaguchi / Hideki Murooka...
Premise
The police officer Shogo Kanetaka, suffers from trauma when his loved one was murdered. All Shogo has on his his mind now is revenge. He then receives an order to go undercover as a yakuza member. The police instructs Shogo to pick a fight with yakuza member Hideki Murooka as a stepping stone to gain entrance into the organization. The police have data that shows Shogo is matched with Hideki 98. Meanwhile, Hideki is the son of a death-row convict. He has a physical condition, where is he always hungry and constantly eating. Also, neither her nor the yakuza can control his emotions.
Director
Masato Harada
Cast
Junichi Okada / Shogo Kanetaka
Kentaro Sakaguchi / Hideki Murooka...
- 12/20/2022
- by Movies Martin Cid Magazine
- Martin Cid Magazine - Movies
By Nicholas Poly
In this article I’m going to take a peek on a double bill. The first title is Kon Ichikawa’s intriguing mystery drama ‘The Inugami Family’ aka ‘The Inugamis’, which was released back in 1976. The second one is Masato Harada’s ‘Inugami’ which was released 25 years later, in 2001.
The interesting fact is the inugami ‘effect’ itself, in both films, which is also the obvious link between the two titles. It must be stressed though, that the theme is presented from a completely different angle in each one of these features. This means that there is no apparent ‘technical’ or ‘artistic’ relation between the two films. Harada’s film is nor a remake neither some kind of ‘hommage’ on Ichikawa’s title. Each one of the films forms a cinematic universe of its own, despite the dramatic overtones and symbolisms that reflect in both features.
Buy This...
In this article I’m going to take a peek on a double bill. The first title is Kon Ichikawa’s intriguing mystery drama ‘The Inugami Family’ aka ‘The Inugamis’, which was released back in 1976. The second one is Masato Harada’s ‘Inugami’ which was released 25 years later, in 2001.
The interesting fact is the inugami ‘effect’ itself, in both films, which is also the obvious link between the two titles. It must be stressed though, that the theme is presented from a completely different angle in each one of these features. This means that there is no apparent ‘technical’ or ‘artistic’ relation between the two films. Harada’s film is nor a remake neither some kind of ‘hommage’ on Ichikawa’s title. Each one of the films forms a cinematic universe of its own, despite the dramatic overtones and symbolisms that reflect in both features.
Buy This...
- 8/2/2020
- by Guest Writer
- AsianMoviePulse
The concept of journalism and its role in the modern, social media era has been an issue addressed quite frequently, in films like “The Journalist” , “The Exclusive: Beat the Devil’s Tattoo” and even this year’s “Reiwa Uprising“. Based on Masato Harada’s 1985 feature, “Out of Focus, Scoop!”, Hitoshi One’s film throws its two cents about the concept through a rather entertaining approach that benefits the film the most.
Shizuka Miyakonojo is a 40-something paparazzi photographer, who is very skilled with camera, but also an irreparable gambler that has amassed a huge debt, which actually forces him to continue hunting celebrities for the latest scoop to sell to Sadako Yokogawa, chief editor of a tabloid magazine. Yokogawa seems to be more than an associate however, and somewhere amidst the rather peculiar relationship she has with Shizuka, she “forces” him to take Nobi Namekawa, a rookie reporter,...
Shizuka Miyakonojo is a 40-something paparazzi photographer, who is very skilled with camera, but also an irreparable gambler that has amassed a huge debt, which actually forces him to continue hunting celebrities for the latest scoop to sell to Sadako Yokogawa, chief editor of a tabloid magazine. Yokogawa seems to be more than an associate however, and somewhere amidst the rather peculiar relationship she has with Shizuka, she “forces” him to take Nobi Namekawa, a rookie reporter,...
- 2/4/2020
- by Panos Kotzathanasis
- AsianMoviePulse
Japanese director Masato Harada most recent project “Moeyo Ken” is set for release on May 20th 2020. The film is based off of the real life historical figure Toshizo Hijikata. Actor Junichi Okada who previously worked with Harada on “Sekigahara” plays the role of Toshizo Hijikata. A trailer for the production has been made available and can be viewed below.
Synopsis
Set in the 19th century, “Moeyo Ken” follows the life of Toshizo Hijikata (Junichi Okada). He was the vice-commander of the Shinsengumi and fought against the Meiji Restoration. (AsianWiki)...
Synopsis
Set in the 19th century, “Moeyo Ken” follows the life of Toshizo Hijikata (Junichi Okada). He was the vice-commander of the Shinsengumi and fought against the Meiji Restoration. (AsianWiki)...
- 12/30/2019
- by Adam Symchuk
- AsianMoviePulse
Japan’s biggest film company, which produces, distributes and exhibits its own product in partnership with leading media companies, Toho has brought a line-up to Tiffcom full of present and future hits.
The biggest is “Weathering with You,” the love story animation by Makoto Shinkai that surpassed the $100 million mark only a month after its July 2019 release. Its worldwide box office, with distribution in 135 countries, now totals $380 million.
Also high on the line-up is “Love Me, Love Me Not,” an ambitious dual-media project that includes an animation produced by A-1 Pictures, and a live-action film directed by romance genre veteran Takahiro Miki. Both are based Io Sakisaka’s hit comic about four high school students – two guys and two girls — who have complex family situations and tangled feelings about each other. The endings, however, are different, motivating fans to experience both anime and film. Release is set for 2020.
Targeting an...
The biggest is “Weathering with You,” the love story animation by Makoto Shinkai that surpassed the $100 million mark only a month after its July 2019 release. Its worldwide box office, with distribution in 135 countries, now totals $380 million.
Also high on the line-up is “Love Me, Love Me Not,” an ambitious dual-media project that includes an animation produced by A-1 Pictures, and a live-action film directed by romance genre veteran Takahiro Miki. Both are based Io Sakisaka’s hit comic about four high school students – two guys and two girls — who have complex family situations and tangled feelings about each other. The endings, however, are different, motivating fans to experience both anime and film. Release is set for 2020.
Targeting an...
- 10/23/2019
- by Mark Schilling
- Variety Film + TV
Oahunov Nov 8-18, 2018
Kauainov Nov 15-18, 2018
Big Island & Maui Nov 29 -Dec 2, 2018
The 38th Hawaii International Film Festival is about to start and to continue the festival’s proud tradition of showcasing content and creatives from the Pacific, Asia and North America.
The festival this year features over 180 films, talks and events from 37 countries, with 47 Us, International and World Premieres across 32 sections. 2018 continues the tradition of programming a selection of critically-acclaimed and highly-anticipated films from Asia and around the world, while also giving a platform from emerging creative talents from across the Hawaii-Pacific region.
Outstanding films are accompanied by stars and filmmakers from around the world, connecting East and West through a dedication to discussion, diversity and creativity.
We have picked the Asian titles in the Programme and they are a lot!
Let’s have a look:
Shadow – Opening Night Film
China 2018 – Director: Zhang Yimou
50 First Kisses
Spotlight On Japan – Japan...
Kauainov Nov 15-18, 2018
Big Island & Maui Nov 29 -Dec 2, 2018
The 38th Hawaii International Film Festival is about to start and to continue the festival’s proud tradition of showcasing content and creatives from the Pacific, Asia and North America.
The festival this year features over 180 films, talks and events from 37 countries, with 47 Us, International and World Premieres across 32 sections. 2018 continues the tradition of programming a selection of critically-acclaimed and highly-anticipated films from Asia and around the world, while also giving a platform from emerging creative talents from across the Hawaii-Pacific region.
Outstanding films are accompanied by stars and filmmakers from around the world, connecting East and West through a dedication to discussion, diversity and creativity.
We have picked the Asian titles in the Programme and they are a lot!
Let’s have a look:
Shadow – Opening Night Film
China 2018 – Director: Zhang Yimou
50 First Kisses
Spotlight On Japan – Japan...
- 10/18/2018
- by Adriana Rosati
- AsianMoviePulse
New York Asian Film Festival heads on global trawl for content, festival blind spots, ‘fear of China’.
As the 17th New York Asian Film Festival (Nyaff) enters its final weekend, executive director Samuel Jamier and deputy director Stephen Cremin discuss why premieres aren’t always the be-all-and-end-all, the ‘fear of China’, Nyaff’s faithful audience, and international festival blind spots.
Presented by Film Society Of Lincoln Center and Subway Cinema and backed by a range of Asian bodies and New York-based private donors, the event runs from June 29-July 15 at Film Society Of Lincoln Center.
This year’s edition closes...
As the 17th New York Asian Film Festival (Nyaff) enters its final weekend, executive director Samuel Jamier and deputy director Stephen Cremin discuss why premieres aren’t always the be-all-and-end-all, the ‘fear of China’, Nyaff’s faithful audience, and international festival blind spots.
Presented by Film Society Of Lincoln Center and Subway Cinema and backed by a range of Asian bodies and New York-based private donors, the event runs from June 29-July 15 at Film Society Of Lincoln Center.
This year’s edition closes...
- 7/13/2018
- by Jeremy Kay
- ScreenDaily
“Kamikaze Taxi” isn’t the film you think it is. It starts out with documentary style footage and then it slides into feature narrative and stays there. This format shift is perhaps a clue as to what kind of movie you are really sitting down to, which isn’t a yakuza film, a road movie or a documentary. It’s a unique mashup of style and story that takes you on an odd yet unique journey for two hours and twenty minutes into the life of two Japanese men on the run.
Kamikaze Taxi is screening at the 17th New York Asian Film Festival
The story that “Kamikaze Taxi” tells is about a Japanese man recently returned to Japan, having lived most of his life in Peru. Working as a taxi driver, Kantake (Kôji Yakusho), is a man out of touch with his Japanese heritage. He meets a young punk,...
Kamikaze Taxi is screening at the 17th New York Asian Film Festival
The story that “Kamikaze Taxi” tells is about a Japanese man recently returned to Japan, having lived most of his life in Peru. Working as a taxi driver, Kantake (Kôji Yakusho), is a man out of touch with his Japanese heritage. He meets a young punk,...
- 7/12/2018
- by Matt Ward
- AsianMoviePulse
Jidaigeki (period dramas) films that focus on the lives of women during the Edo period are definitely an exception among the vast number of entries in the field. Masato Harada’s movie is one of these exceptions, in a wonderful production based on the novel “Tokeiji Hanadayori” by Hisashi Inoue.
Kakekomi is screening at the 17th New York Asian Film Festival
The story takes place near the ending of the Edo period (1841), during a time when the divorce rate was two times higher than the current one. The local government, in an explosion of conservatism, has issued an austerity law, actually criminalizing a number of forms of arts and entertainment, making the lives of common people even worse. At the same time, since divorce is a concept forbidden, a number of women find solace at a women’s Buddhist temple in Kamakura named Tokei-ji, where, after two years of servitude,...
Kakekomi is screening at the 17th New York Asian Film Festival
The story takes place near the ending of the Edo period (1841), during a time when the divorce rate was two times higher than the current one. The local government, in an explosion of conservatism, has issued an austerity law, actually criminalizing a number of forms of arts and entertainment, making the lives of common people even worse. At the same time, since divorce is a concept forbidden, a number of women find solace at a women’s Buddhist temple in Kamakura named Tokei-ji, where, after two years of servitude,...
- 7/3/2018
- by Panos Kotzathanasis
- AsianMoviePulse
Little ForestThe New York Asian Film Festival, now in its 17th year, has become the premiere showcase for East and Southeast Asian cinema in North America. From a modest selection of a mere eleven films in its first year (2002), the festival has grown in both size and scope: this year’s selection includes 58 films from across the continent, an eclectic mix of arthouse and grindhouse, a bold survey of popular and independent cinema from one of the most vibrant and exciting corners of the world. While most of the films are new, including several North American premieres, the festival includes some archival films, including mini-retrospectives on the work of directors Masato Harada and Dante Lam. Thanks to the magic of the Internet and online screeners, I was able to sample a handful of titles from this year’s Nyaff from my home, thousands of miles away from Lincoln Center. I...
- 6/29/2018
- MUBI
Probably one of the most anticipated Japanese films of the year, “Sekigahara” deals with the homonymous battle that took place in 1600, and ended the Warring States era, establishing the Tokugawa shogunate.
Sekigahara is screening at the Toronto Japanese Film Festival
The movie is split in two parts. The first one narrates the events that brought the Western and the Eastern Army facing each other, and established the two main opponents on a personal level, Mitsunari Ishida, who defended the rights of Hideyori, son of Hideyoshi Toyotomi, and Tokugawa Ieyasu, who wanted the shogunate for himself. Through a number of political movements, treacheries and cunningness, we watch the desperate efforts of the two men to secure as many allies as possible, since the inevitable civil war was looming over the country.
The second part deals with the battle itself, examining the various stages that occurred and the constant change of allies...
Sekigahara is screening at the Toronto Japanese Film Festival
The movie is split in two parts. The first one narrates the events that brought the Western and the Eastern Army facing each other, and established the two main opponents on a personal level, Mitsunari Ishida, who defended the rights of Hideyori, son of Hideyoshi Toyotomi, and Tokugawa Ieyasu, who wanted the shogunate for himself. Through a number of political movements, treacheries and cunningness, we watch the desperate efforts of the two men to secure as many allies as possible, since the inevitable civil war was looming over the country.
The second part deals with the battle itself, examining the various stages that occurred and the constant change of allies...
- 6/22/2018
- by Panos Kotzathanasis
- AsianMoviePulse
This great recent Japanese epic is all but unknown here — and is the kind of adult historical show that we seem incapable of these days. The intense diplomatic storm at the end of WW2 with an Army command willing to sacrifice the nation in a national suicide pact, is given an exciting, thoughtful treatment
The Emperor in August
Blu-ray
Twilight Time
2015 / Color / 1:85 widescreen / 136 min. / Street Date August 15, 2017 / Nihon no ichiban nagai hi ketteiban / Available from the Twilight Time Movies Store 29.95
Starring: Koji Yakusho, Masahiro Motoki, Tsutomu Yamazaki, Shin’ichi Tsutsumi, Tori Matsuzaka, Kikuo Kaneuchi, Misuzu Kanno, Katsumi Kiba.
Cinematography: Takahide Shibanushi
Film Editor: Eugene Harada
Original Music: Harumi Fuki
Based on the novel by Kacutoshi Hando
Produced by Hirotaki Aragaki, Nozumi Enoki
Written and Directed by Masato Harada
How does Twilight Time do it? Every time they offer a foreign title I’ve never heard of, it comes up a winner.
The Emperor in August
Blu-ray
Twilight Time
2015 / Color / 1:85 widescreen / 136 min. / Street Date August 15, 2017 / Nihon no ichiban nagai hi ketteiban / Available from the Twilight Time Movies Store 29.95
Starring: Koji Yakusho, Masahiro Motoki, Tsutomu Yamazaki, Shin’ichi Tsutsumi, Tori Matsuzaka, Kikuo Kaneuchi, Misuzu Kanno, Katsumi Kiba.
Cinematography: Takahide Shibanushi
Film Editor: Eugene Harada
Original Music: Harumi Fuki
Based on the novel by Kacutoshi Hando
Produced by Hirotaki Aragaki, Nozumi Enoki
Written and Directed by Masato Harada
How does Twilight Time do it? Every time they offer a foreign title I’ve never heard of, it comes up a winner.
- 9/9/2017
- by Glenn Erickson
- Trailers from Hell
Sakura Ando, Yu Aoi, Hikari Mitsushima and Aoi Miyazaki to be feted.
Tokyo International Film Festival is highlighting the work of four Japanese actresses – Sakura Ando, Yu Aoi, Hikari Mitsushima and Aoi Miyazaki – in this year’s Japan Now section.
The highlight, ‘Muses of Japanese Cinema’, is one of the special programmes that the festival is planning to celebrate its 30th anniversary. The four actresses have won acclaim in recent years for the high standard of their work, collaborations with renowned directors and increasing international status.
Ando won multiple awards for 2015 releases 0.5 mm and 100 Yen Love, while Aoi’s credits include Over the Fence (2016) and Japanese Girls Never Die (2016).
Mitsushima gained worldwide attention in Sion Sono’s Love Exposure (2009) and recently starred in Traces Of Sin (2017). Miyazaki’s recent credits include Sang-il Lee’s Rage (2016) and Yasuhiro Yoshida’s Birthday Card (2016).
In addition to screenings of films featuring the selected actresses, Tokyo will host...
Tokyo International Film Festival is highlighting the work of four Japanese actresses – Sakura Ando, Yu Aoi, Hikari Mitsushima and Aoi Miyazaki – in this year’s Japan Now section.
The highlight, ‘Muses of Japanese Cinema’, is one of the special programmes that the festival is planning to celebrate its 30th anniversary. The four actresses have won acclaim in recent years for the high standard of their work, collaborations with renowned directors and increasing international status.
Ando won multiple awards for 2015 releases 0.5 mm and 100 Yen Love, while Aoi’s credits include Over the Fence (2016) and Japanese Girls Never Die (2016).
Mitsushima gained worldwide attention in Sion Sono’s Love Exposure (2009) and recently starred in Traces Of Sin (2017). Miyazaki’s recent credits include Sang-il Lee’s Rage (2016) and Yasuhiro Yoshida’s Birthday Card (2016).
In addition to screenings of films featuring the selected actresses, Tokyo will host...
- 5/18/2017
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
In an age of public lives and ubiquitous cameras ready to capture every moment of them, writer-director Hitoshi One’s Scoop! may not be terribly original, but it is an engaging and resonant low-key drama about an aging paparazzo trying to reinvent himself and stay relevant as his skill set becomes obsolete. Based on Masato Harada’s 1985 feature, Out of Focus, Scoop! manages to balance the crude humor of its main character, a larger story about a shifting media landscape and elements of a thriller.
One, who had a popular hit in 2015 with the youthful romance Bakuman — also set...
One, who had a popular hit in 2015 with the youthful romance Bakuman — also set...
- 1/25/2017
- by Elizabeth Kerr
- The Hollywood Reporter - Movie News
The Blue Ribbon Awards are film-specific prizes awarded solely by movie critics and writers in Tokyo, Japan.
The awards were established in 1950 by The Association of Tokyo Film Journalists which is composed of film correspondents from seven Tokyo-based sports newspapers. In 1961, the six major Japanese newspapers (Yomiuri Shinbun, Asahi Shinbun, Mainichi Shinbun, Sankei Shimbun, Tokyo Shimbun andNihon Keizai Shinbun) as well as the Japanese Associated Press withdrew their support for the Blue Ribbon Awards and established the Association of Japanese Film Journalists Awards, (which were held a mere six times). In 1967, the awards were cancelled as a result of the Black Mist Scandal, a baseball bribing case. In 1975, the awards were revived, and have continued until the present day. The annual award ceremony is held in a variety of places in Tokyo every February.
Although the award is not acclaimed highly on an international level, due to their long history and the rigorous screening process,...
The awards were established in 1950 by The Association of Tokyo Film Journalists which is composed of film correspondents from seven Tokyo-based sports newspapers. In 1961, the six major Japanese newspapers (Yomiuri Shinbun, Asahi Shinbun, Mainichi Shinbun, Sankei Shimbun, Tokyo Shimbun andNihon Keizai Shinbun) as well as the Japanese Associated Press withdrew their support for the Blue Ribbon Awards and established the Association of Japanese Film Journalists Awards, (which were held a mere six times). In 1967, the awards were cancelled as a result of the Black Mist Scandal, a baseball bribing case. In 1975, the awards were revived, and have continued until the present day. The annual award ceremony is held in a variety of places in Tokyo every February.
Although the award is not acclaimed highly on an international level, due to their long history and the rigorous screening process,...
- 3/26/2016
- by Panos Kotzathanasis
- AsianMoviePulse
The awards were first introduced in 1946 by the Mainichi Shinbun (毎日新聞) newspaper, which is the oldest daily Japanese one, since it has been on circulation since 1872. Nowadays, it is one of the three largest in the country, and it is noteworthy that two of its general directors were elected Prime Ministers.
The first winners were:
Best Film: Aru yo no tonosama (Teinosuke Kinugasa)
Best Firector: Tadashi Imai (Minshu no teki)
Best Script: Osone ke no ashita (Eijiro Hisaita)
Best Actor: Eitaro Ozawa (Osone ke no ashita)
Best Soundtrack: Minshu no teki (Fumio Hayasaka)
Since 1962, a year after the death of Noburo Ofuji, one of the pioneers of Japanese anime, a new award was introduced in his name, for the best anime of the season. The first winner was Osamu Tezuka, with “Story of a Certain Street Corner.”With the rise of the anime industry during the 80’s, the major studios started dominating the award,...
The first winners were:
Best Film: Aru yo no tonosama (Teinosuke Kinugasa)
Best Firector: Tadashi Imai (Minshu no teki)
Best Script: Osone ke no ashita (Eijiro Hisaita)
Best Actor: Eitaro Ozawa (Osone ke no ashita)
Best Soundtrack: Minshu no teki (Fumio Hayasaka)
Since 1962, a year after the death of Noburo Ofuji, one of the pioneers of Japanese anime, a new award was introduced in his name, for the best anime of the season. The first winner was Osamu Tezuka, with “Story of a Certain Street Corner.”With the rise of the anime industry during the 80’s, the major studios started dominating the award,...
- 2/26/2016
- by Panos Kotzathanasis
- AsianMoviePulse
The 28th ceremony took place at the New Otani Hotel, in Tokyo and the list of winners is:
Best Film: Solomon’s Perjury (Izuru Narashima)
Best Director: Masato Harada (The Emperor in August, Kakekomi)
Best Actor: Kengo Kora (TheMourner, Being Good)
Best Actress: Haruka Ayase (Our Little Sister)
Best Supporting Actor: Masahiro Motoki (The Emperor in August, The Big Bee)
Best Supporting Actress: Masami Nagasawa (Our Little Sister)
Best International Film: Whiplash (Damien Chazelle)
New Face Award: Suzu Hirose (Our Little Sister)
Fan Award: Joker Game (Yu Irie)
Yujiro Ishihara Award: The Emperor in August
Achievement Award: Yukichi Shinada (film critic)
Kengo Kora
Masami Nagasawa
the winners...
Best Film: Solomon’s Perjury (Izuru Narashima)
Best Director: Masato Harada (The Emperor in August, Kakekomi)
Best Actor: Kengo Kora (TheMourner, Being Good)
Best Actress: Haruka Ayase (Our Little Sister)
Best Supporting Actor: Masahiro Motoki (The Emperor in August, The Big Bee)
Best Supporting Actress: Masami Nagasawa (Our Little Sister)
Best International Film: Whiplash (Damien Chazelle)
New Face Award: Suzu Hirose (Our Little Sister)
Fan Award: Joker Game (Yu Irie)
Yujiro Ishihara Award: The Emperor in August
Achievement Award: Yukichi Shinada (film critic)
Kengo Kora
Masami Nagasawa
the winners...
- 12/29/2015
- by Panos Kotzathanasis
- AsianMoviePulse
An android actress, giant anime robots and the legacy of Akira Kurosawa were among the offerings at this year’s Tokyo International Film Festival (Tiff), which as always presented an interesting mix of old and new.
Android Geminoid-f – created by robotics expert Hiroshi Ishiguro – is an eerily convincing lead actress in Koji Fukada’s Sayonara, which received its world premiere in Tiff’s competition section.
Both Geminoid-f and Japanese-speaking actress Bryerly Long are reprising their roles from the short stage-play from which the film is adapted.
Although set in a near-future Japan contaminated by radiation, the film is more of a riff on mortality and the fear of death than a comment on the Fukushima nuclear disaster.
More startling than the story was the range of emotions that Geminoid-f was able to convey. “Sometimes robots can express more than humans,” said Ishiguro at a post-screening event.
Gundam focus
The giant robots came courtesy of a focus on iconic...
Android Geminoid-f – created by robotics expert Hiroshi Ishiguro – is an eerily convincing lead actress in Koji Fukada’s Sayonara, which received its world premiere in Tiff’s competition section.
Both Geminoid-f and Japanese-speaking actress Bryerly Long are reprising their roles from the short stage-play from which the film is adapted.
Although set in a near-future Japan contaminated by radiation, the film is more of a riff on mortality and the fear of death than a comment on the Fukushima nuclear disaster.
More startling than the story was the range of emotions that Geminoid-f was able to convey. “Sometimes robots can express more than humans,” said Ishiguro at a post-screening event.
Gundam focus
The giant robots came courtesy of a focus on iconic...
- 10/27/2015
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
An android actress, giant anime robots and the legacy of Akira Kurosawa were among the offerings at this year’s Tokyo International Film Festival (Tiff), which as always presented an interesting mix of old and new.
Android Geminoid-f – created by robotics expert Hiroshi Ishiguro – is an eerily convincing lead actress in Koji Fukada’s Sayonara, which received its world premiere in Tiff’s competition section. Both Geminoid-f and Japanese-speaking actress Bryerly Long are reprising their roles from the short stage-play that the film is adapted from.
Although set in a near-future Japan contaminated by radiation, the film is more of a riff on mortality and the fear of death than a comment on the Fukushima nuclear disaster. More startling than the story was the range of emotions that Geminoid-f was able to convey. “Sometimes robots can express more than humans,” said Ishiguro at a post-screening event.
The giant robots came courtesy of a focus on iconic Japanese...
Android Geminoid-f – created by robotics expert Hiroshi Ishiguro – is an eerily convincing lead actress in Koji Fukada’s Sayonara, which received its world premiere in Tiff’s competition section. Both Geminoid-f and Japanese-speaking actress Bryerly Long are reprising their roles from the short stage-play that the film is adapted from.
Although set in a near-future Japan contaminated by radiation, the film is more of a riff on mortality and the fear of death than a comment on the Fukushima nuclear disaster. More startling than the story was the range of emotions that Geminoid-f was able to convey. “Sometimes robots can express more than humans,” said Ishiguro at a post-screening event.
The giant robots came courtesy of a focus on iconic Japanese...
- 10/27/2015
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
Competition section features six world premieres including titles from Koji Fukada and Yoshihiro Nakamura.
The 28th Tokyo International Film Festival (October 22-31) has unveiled its line-up with six world premieres in the Competition section, including Turkish director Mustafa Kara’s Cold Of Kalandar, Hao Jie’s My Original Dream and Thai film-maker Kongdej Jaturanrasmee’s Snap.
Also world-premiering in Competition are three Japanese titles: Kohei Oguri’s Foujita, Yoshihiro Nakamura’s The Inerasable and Koji Fukada’s Sayonara – the most local films in the main section since 2004.
The other selections are either Asian or international premieres. The topics of war or refugeeism are a common thread among some films, echoing current day headlines. “We were not conscious about choosing those types, it just happened that way and we noticed afterwards,” said Competition programming director Yoshi Yatabe.
“As much as possible we’d like to cover a wide range of geographical areas and genres,” he said of...
The 28th Tokyo International Film Festival (October 22-31) has unveiled its line-up with six world premieres in the Competition section, including Turkish director Mustafa Kara’s Cold Of Kalandar, Hao Jie’s My Original Dream and Thai film-maker Kongdej Jaturanrasmee’s Snap.
Also world-premiering in Competition are three Japanese titles: Kohei Oguri’s Foujita, Yoshihiro Nakamura’s The Inerasable and Koji Fukada’s Sayonara – the most local films in the main section since 2004.
The other selections are either Asian or international premieres. The topics of war or refugeeism are a common thread among some films, echoing current day headlines. “We were not conscious about choosing those types, it just happened that way and we noticed afterwards,” said Competition programming director Yoshi Yatabe.
“As much as possible we’d like to cover a wide range of geographical areas and genres,” he said of...
- 9/29/2015
- ScreenDaily
Competition section features six world premieres including titles from Koji Fukada and Yoshihiro Nakamura.
The 28th Tokyo International Film Festival (October 22-31) has unveiled its line-up with six world premieres in the Competition section, including Turkish director Mustafa Kara’s Cold Of Kalandar, Hao Jie’s My Original Dream and Thai film-maker Kongdej Jaturanrasmee’s Snap.
Also world-premiering in Competition are three Japanese titles: Kohei Oguri’s Foujita, Yoshihiro Nakamura’s The Inerasable and Koji Fukada’s Sayonara – the most local films in the main section since 2004.
The other selections are either Asian or international premieres. The topics of war or refugeeism are a common thread among some films, echoing current day headlines. “We were not conscious about choosing those types, it just happened that way and we noticed afterwards,” said Competition programming director Yoshi Yatabe.
“As much as possible we’d like to cover a wide range of geographical areas and genres,” he said of...
The 28th Tokyo International Film Festival (October 22-31) has unveiled its line-up with six world premieres in the Competition section, including Turkish director Mustafa Kara’s Cold Of Kalandar, Hao Jie’s My Original Dream and Thai film-maker Kongdej Jaturanrasmee’s Snap.
Also world-premiering in Competition are three Japanese titles: Kohei Oguri’s Foujita, Yoshihiro Nakamura’s The Inerasable and Koji Fukada’s Sayonara – the most local films in the main section since 2004.
The other selections are either Asian or international premieres. The topics of war or refugeeism are a common thread among some films, echoing current day headlines. “We were not conscious about choosing those types, it just happened that way and we noticed afterwards,” said Competition programming director Yoshi Yatabe.
“As much as possible we’d like to cover a wide range of geographical areas and genres,” he said of...
- 9/29/2015
- ScreenDaily
Selection represents highest number of Japanese films in more than a decade.
The 28th Tokyo International Film Festival (Oct. 22-31) has chosen three Japanese titles for its main competition, the highest number of local films it has selected for its top section for 11 years.
Veteran helmer Kohei Oguri’s Foujita portrays Japanese artist Tsuguhara Foujita’s life in Paris in the 1920s; Koji Fukada’s Sayonara centres on an ill woman and her android caretaker; and Yoshihiro Nakamura’s The Inerasable follows a novelist and her investigation of a series of eerie deaths.
“I feel that the quality seen in recent Japanese films is extremely rich and on par with those seen in international cinema,” said Yoshi Yatabe, Tiff’s competition programming director.
“By mixing three different types of directors, we wanted to showcase the strength and diversity we see in today’s Japanese cinema.”
This year, 1,409 titles from 86 territories were submitted for consideration. The rest of...
The 28th Tokyo International Film Festival (Oct. 22-31) has chosen three Japanese titles for its main competition, the highest number of local films it has selected for its top section for 11 years.
Veteran helmer Kohei Oguri’s Foujita portrays Japanese artist Tsuguhara Foujita’s life in Paris in the 1920s; Koji Fukada’s Sayonara centres on an ill woman and her android caretaker; and Yoshihiro Nakamura’s The Inerasable follows a novelist and her investigation of a series of eerie deaths.
“I feel that the quality seen in recent Japanese films is extremely rich and on par with those seen in international cinema,” said Yoshi Yatabe, Tiff’s competition programming director.
“By mixing three different types of directors, we wanted to showcase the strength and diversity we see in today’s Japanese cinema.”
This year, 1,409 titles from 86 territories were submitted for consideration. The rest of...
- 9/16/2015
- ScreenDaily
TwitchFilm is honored to have the distinction of announcing the award winners from this year's edition of the the Toronto Japanese Film Festival. By all accounts the festival continues to grow in popularity, it was their biggest festival so far. Kazuyoshi Kumakiri's My Man, starring perennial TwitchFilm favorite Tadanobu Asano, took home the Jury Prize. And it is no surprise that Shinobu Yaguchi, director of crowd pleasers like Waterboys, Swing Girls and Robo-g, enchanted the crowd in Toronto with his latest film Wood Job! and won the audience award. The full press release follows. Kazuyoshi Kumakiri's My Man and Shinobu Yaguchi's Wood Job! Take Major Awards at 2015 Toronto Japanese Film Festival. Masato Harada's Kakekomi also HonouredKazuyoshi Kumakiri's My Man was selected the winner of the Grand Jury Prize...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 6/29/2015
- Screen Anarchy
Diego Quemada-Diez scoops top prize; Nagraj Manjule wins jury award.Scroll down for full list of winners
Mexican film A Golden Dream (La Jaula De Oro) scooped the top prize, the Golden Gateway Of India award, in the Mumbai Film Festival’s international competition for first features, while Nagraj Manjule’s Fandry was awarded the Jury Grand Prize.
Directed by Diego Quemada-Diez, who started his career as an assistant to Ken Loach, A Golden Dream (fka The Golden Cage)follows the journey of three young Guatemalans attempting to emigrate to the Us.
The film debuted at Cannes in May where it won the Talent award in the Un Certain Regard section. It recently won the Best International Feature Film at the Zurich Film Festival.
The only Indian film in competition, the Marathi-language Fandry revolves around an “untouchable” or Dalit boy and his love for a girl from a higher caste.
Anthony Chen’s [link...
Mexican film A Golden Dream (La Jaula De Oro) scooped the top prize, the Golden Gateway Of India award, in the Mumbai Film Festival’s international competition for first features, while Nagraj Manjule’s Fandry was awarded the Jury Grand Prize.
Directed by Diego Quemada-Diez, who started his career as an assistant to Ken Loach, A Golden Dream (fka The Golden Cage)follows the journey of three young Guatemalans attempting to emigrate to the Us.
The film debuted at Cannes in May where it won the Talent award in the Un Certain Regard section. It recently won the Best International Feature Film at the Zurich Film Festival.
The only Indian film in competition, the Marathi-language Fandry revolves around an “untouchable” or Dalit boy and his love for a girl from a higher caste.
Anthony Chen’s [link...
- 10/25/2013
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
Diego Quemada-Diez scoops top prize; Nagraj Manjule wins jury award.Scroll down for full list of winners
Mexican film The Golden Cage (La Jaula De Oro) scooped the top prize, the Golden Gateway Of India award, in the Mumbai Film Festival’s international competition for first features, while Nagraj Manjule’s Fandry was awarded the Jury Grand Prize.
Directed by Diego Quemada-Diez, who started his career as an assistant to Ken Loach, The Golden Cage follows the journey of three young Guatemalans attempting to emigrate to the Us.
The film debuted at Cannes in May where it won the Talent award in the Un Certain Regard section. It recently won the Best International Feature Film at the Zurich Film Festival.
The only Indian film in competition, the Marathi-language Fandry revolves around an “untouchable” or Dalit boy and his love for a girl from a higher caste.
Anthony Chen’s Ilo Ilo continued its successful festival...
Mexican film The Golden Cage (La Jaula De Oro) scooped the top prize, the Golden Gateway Of India award, in the Mumbai Film Festival’s international competition for first features, while Nagraj Manjule’s Fandry was awarded the Jury Grand Prize.
Directed by Diego Quemada-Diez, who started his career as an assistant to Ken Loach, The Golden Cage follows the journey of three young Guatemalans attempting to emigrate to the Us.
The film debuted at Cannes in May where it won the Talent award in the Un Certain Regard section. It recently won the Best International Feature Film at the Zurich Film Festival.
The only Indian film in competition, the Marathi-language Fandry revolves around an “untouchable” or Dalit boy and his love for a girl from a higher caste.
Anthony Chen’s Ilo Ilo continued its successful festival...
- 10/25/2013
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
m
Mexican film The Golden Cage (La Jaula De Oro) scooped the top prize, the Golden Gateway Of India award, in the Mumbai Film Festival’s international competition for first features, while Nagraj Manjule’s Fandry was awarded the Jury Grand Prize.
Directed by Diego Quemada-Diez, who started his career as an assistant to Ken Loach, The Golden Cage follows the journey of three young Guatemalans attempting to emigrate to the Us. The only Indian film in competition, the Marathi-language Fandry revolves around an “untouchable” or Dalit boy and his love for a girl from a higher caste.
Anthony Chen’s Ilo Ilo continued its successful festival sweep by winning best director and best actress for Yann Yann Yeo. Best actor went to Vincent Macaigne for his role in Tonnerre, directed by France’s Guillaume Brac.
The jury also gave a special prize for “Best Work in Cinematography” to Australia-Laos-Thailand co-production The Rocket, directed by [link...
Mexican film The Golden Cage (La Jaula De Oro) scooped the top prize, the Golden Gateway Of India award, in the Mumbai Film Festival’s international competition for first features, while Nagraj Manjule’s Fandry was awarded the Jury Grand Prize.
Directed by Diego Quemada-Diez, who started his career as an assistant to Ken Loach, The Golden Cage follows the journey of three young Guatemalans attempting to emigrate to the Us. The only Indian film in competition, the Marathi-language Fandry revolves around an “untouchable” or Dalit boy and his love for a girl from a higher caste.
Anthony Chen’s Ilo Ilo continued its successful festival sweep by winning best director and best actress for Yann Yann Yeo. Best actor went to Vincent Macaigne for his role in Tonnerre, directed by France’s Guillaume Brac.
The jury also gave a special prize for “Best Work in Cinematography” to Australia-Laos-Thailand co-production The Rocket, directed by [link...
- 10/24/2013
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
The 15th Mumbai Film Festival will host a celebration of Spanish Cinema organized in association with the Embassy of Spain in India. This celebration package will include classics such as El Verdugo, Seven Days in January, Carmen among others.
A special Spotlight on Cambodian films will be presented, while also continuing to showcase the blossoming film movement in Afghanistan with the Kabul Fresh section for the second year in succession.
The 15th Mumbai film festival’s line up of 200 movies and other highlights were revealed today at the curtain raiser press conference held at the Taj Mahal hotel, Mumbai in the presence of Shyam Benegal, Filmmaker and Chairman, Mami, Amit Khanna, Sudhir Mishra and Ramesh Sippy, Trustees, Mami, Srinivasan Narayanan, Festival Director.
The festival will also witness a panel discussion organized by the Academy of Motion Picture arts and sciences.
Side bar events at this year’s festival include master classes by director Bruce Beresford,...
A special Spotlight on Cambodian films will be presented, while also continuing to showcase the blossoming film movement in Afghanistan with the Kabul Fresh section for the second year in succession.
The 15th Mumbai film festival’s line up of 200 movies and other highlights were revealed today at the curtain raiser press conference held at the Taj Mahal hotel, Mumbai in the presence of Shyam Benegal, Filmmaker and Chairman, Mami, Amit Khanna, Sudhir Mishra and Ramesh Sippy, Trustees, Mami, Srinivasan Narayanan, Festival Director.
The festival will also witness a panel discussion organized by the Academy of Motion Picture arts and sciences.
Side bar events at this year’s festival include master classes by director Bruce Beresford,...
- 9/25/2013
- by NewsDesk
- DearCinema.com
The Mumbai Film Festival has announced that Bruce Beresford will head its International Competition jury, while Asghar Farhadi will head the jury of the India Gold competition.
Beresford’s 1989 film Driving Miss Daisy won the Academy Award for best film and he was also nominated for best director in 1984 for Tender Mercies. Joining him on the International Competition jury are French actress Nathalie Baye, Japanese filmmaker Masato Harada and Indian actress Konkana Sen Sharma (Mr And Mrs Iyer, Omkara).
Joining Farhadi on the India Gold jury are Afghan director Siddiq Barmak (Osama), UK actor/director Waris Hussein, Australian editor Jill Bilcock and Roger Garcia, executive director of the Hong Kong International Film Festival.
“The jury is the core of every film fest and we have a proud legacy of having eminent personalities on our jury every year,” said Mumbai Film Festival director Srinivasan Narayan. “This year too we’re welcoming some very accomplished names, all masters...
Beresford’s 1989 film Driving Miss Daisy won the Academy Award for best film and he was also nominated for best director in 1984 for Tender Mercies. Joining him on the International Competition jury are French actress Nathalie Baye, Japanese filmmaker Masato Harada and Indian actress Konkana Sen Sharma (Mr And Mrs Iyer, Omkara).
Joining Farhadi on the India Gold jury are Afghan director Siddiq Barmak (Osama), UK actor/director Waris Hussein, Australian editor Jill Bilcock and Roger Garcia, executive director of the Hong Kong International Film Festival.
“The jury is the core of every film fest and we have a proud legacy of having eminent personalities on our jury every year,” said Mumbai Film Festival director Srinivasan Narayan. “This year too we’re welcoming some very accomplished names, all masters...
- 9/3/2013
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
Mumbai, Sep 3: A host of foreign film dignitaries, including director Bruce Beresford, French actress Nathalie Baye, Japanese actor-director Masato Harada and Iranian director Asghar Farhadi, along with acclaimed Indian actress Konkona Sensharma, are on the jury of the 15th Mumbai Film Festival (Mff).
The film festival will be held here Oct 17-24.
Bruce Beresford, whose movie "Driving Miss Daisy" had won the Academy Award for the best film, will head the international competition jury. The multi-faceted Baye, and Harada of "The Last Samurai" fame, as well as Konkona, will be a part of this jury.
The jury for.
The film festival will be held here Oct 17-24.
Bruce Beresford, whose movie "Driving Miss Daisy" had won the Academy Award for the best film, will head the international competition jury. The multi-faceted Baye, and Harada of "The Last Samurai" fame, as well as Konkona, will be a part of this jury.
The jury for.
- 9/3/2013
- by Shiva Prakash
- RealBollywood.com
Academy-award winner Australian director Bruce Beresford ( Driving Miss Daisy, Double Jeopardy) will head the International Competition Jury of the 15th Mumbai Film Festival.
Bruce Beresford will be accompanied by French actor Nathalie Baye (Catch Me if You Can), Japanese director Masato Harada (Chronicle of my Mother) and Indian actor Konkana Sen Sharma (Mr. And Mrs. Iyer, Omkara) on the International Jury.
Academy Award winner Iranian director Asghar Farhadi ( A Separation, About Elly) will head the India Gold 2013 competition Jury of the festival. The other members of the Jury are Afghani director Siddiq Barmark (Osama), British actor/director Waris Hussein (Little Gloria…Happy at last), Australian Film Editor Jill Bilcock (Moulin Rouge) and film critic Roger Garcia who is also the executive director of the Hong Kong International Film Festival.
The 15th Mumbai Film Festival will take place from the 17th – 24, October 2013 at Metro Cinema and Liberty Cinemas as the main festival venues and Cinemax,...
Bruce Beresford will be accompanied by French actor Nathalie Baye (Catch Me if You Can), Japanese director Masato Harada (Chronicle of my Mother) and Indian actor Konkana Sen Sharma (Mr. And Mrs. Iyer, Omkara) on the International Jury.
Academy Award winner Iranian director Asghar Farhadi ( A Separation, About Elly) will head the India Gold 2013 competition Jury of the festival. The other members of the Jury are Afghani director Siddiq Barmark (Osama), British actor/director Waris Hussein (Little Gloria…Happy at last), Australian Film Editor Jill Bilcock (Moulin Rouge) and film critic Roger Garcia who is also the executive director of the Hong Kong International Film Festival.
The 15th Mumbai Film Festival will take place from the 17th – 24, October 2013 at Metro Cinema and Liberty Cinemas as the main festival venues and Cinemax,...
- 9/3/2013
- by NewsDesk
- DearCinema.com
Tokyo -- High school drama Kirishima, Bukatsu Yamerutteyo (The Kirishima Thing) won best picture and best director for Daihachi Yoshida at the 36th Japan Academy Prize on Friday, with other honors widely shared in a year featuring few critically acclaimed films Hiroshi Abe won best actor for his comedy work as a time-traveling ancient Roman who ends up in a Japanese hot spring in mega-hit Thermae Romae, which took $66 million (5.98 billion yen) at the local box office. The best actress award went to Kirin Kiki, who was honored for the title role in Masato Harada's Waga Haha
read more...
read more...
- 3/8/2013
- by Gavin J. Blair
- The Hollywood Reporter - Movie News
Densen Uta (Suicide Song) is one of those films that is bound to attract the wrong audience. The film is often categorized as a regular J-Horror, case in point the many reviews trying to fault it for not being something it didn't set out to be. Go in with a blank mind though, and you'll find a pretty exciting little cross-genre breed that knows to excite and surprise. Then again, Masato Harada is that kind of director so I should've known.The similarities between Densen Uta and Jisatsu Sakuru (Sion Sono - Cold Fish, Love Exposure, Ekusute) are almost uncanny, to the point where I actually started to believe this was some kind of unofficial sequel. It turns out both films are unrelated, but the main...
- 7/23/2012
- Screen Anarchy
The 52nd Festival de Télévision de Monte-Carlo wrapped up for another year this evening (June 14). The 'Golden Nymph' trophies were handed out to international TV productions at the Grimaldi Forum. Digital Spy presents the full list of winners at the awards ceremony below: Best Television Film
The Last Fine Day, Hager Moss Film (Germany) Best Director (TV Film)
Masato Harada - Early Autumn (Japan) Outstanding Actor (TV Film)
Woody Harrelson - Game Change (USA) Outstanding Actress (TV Film)
Christine Neubauer - Hanna's Decision (Germany) Best Mini-Series
Yasu - A Single Father's Story, Nhk (Japan) Outstanding Actress (Mini-Series)
Emily Watson - Appropriate Adult (UK) Outstanding Actor (Mini-Series)
Julien Boisselier - Henry Of Navarre (Germany) Best News Documentaries
Terror (more)...
The Last Fine Day, Hager Moss Film (Germany) Best Director (TV Film)
Masato Harada - Early Autumn (Japan) Outstanding Actor (TV Film)
Woody Harrelson - Game Change (USA) Outstanding Actress (TV Film)
Christine Neubauer - Hanna's Decision (Germany) Best Mini-Series
Yasu - A Single Father's Story, Nhk (Japan) Outstanding Actress (Mini-Series)
Emily Watson - Appropriate Adult (UK) Outstanding Actor (Mini-Series)
Julien Boisselier - Henry Of Navarre (Germany) Best News Documentaries
Terror (more)...
- 6/14/2012
- by By Tom Eames
- Digital Spy
CBS’ CSI: Crime Scene Investigation, the most-watched TV show in the world, won the ratings-based International Television Audience Award for the fifth time in seven years as U.S. series dominated the awards handed out today at the 52nd Monte-Carlo Television Festival. ABC’s Desperate Housewives took the honor on the comedy side, while The Bold And The Beautiful won for soap opera/telenovela. Among the Golden Nymph winners were HBO’s Game Of Thrones (drama) and ABC’s Modern Family (comedy) for best international producer, Woody Harrelson as outstanding actor in a telefilm for HBO’s Game Change, 30 Rock‘s Tina Fey for comedy actress, and Jason Priestley as best comedy actor for HBO Canada’s Call Me Fitz. Here’s the complete list of winners: Television Films Best Television Film The Last Fine Day Hager Moss Film Germany Best Director Masato Harada Early Autumn Japan Outstanding Actor Woody Harrelson...
- 6/14/2012
- by THE DEADLINE TEAM
- Deadline TV
As is usually the case around this time of year, European Film Market sales materials have gotten a little ahead of the press releases for several far-off titles. Such is the case for Masato Harada’s upcoming film adaptation of Yasushi Inoue’s autobiographical novel Waga Haha no Ki. Yesterday it was officially announced in Japan that the film—which is currently being shopped around at Efm under the English title Chronicles of My Mother—will star Koshi Yakusho, Aoi Miyazaki, and Kirin Kiki.
The story is set in the 60s and is is based on Inoue’s own experiences with his mother as she aged and lost her memories. Yakusho plays an author named Kosaku Igami who has lived apart from his mother, Yae (Kiki), from a young age. When his father dies, Kosaku must handle his mother’s living arrangements. As Yae grows more senile, she struggles to...
The story is set in the 60s and is is based on Inoue’s own experiences with his mother as she aged and lost her memories. Yakusho plays an author named Kosaku Igami who has lived apart from his mother, Yae (Kiki), from a young age. When his father dies, Kosaku must handle his mother’s living arrangements. As Yae grows more senile, she struggles to...
- 2/12/2011
- Nippon Cinema
American character actor known for his tough-guy roles in westerns and on television
With a voice that sounded as if it were strained through gravel chipped from his craggy face, James Gammon, who has died of cancer aged 70, had a memorable presence as a character actor in crime films, rural dramas and especially westerns, from A Man Called Horse (1970) to Urban Cowboy (1980), Silverado (1985), Wyatt Earp (1994), Wild Bill (1995) and Appaloosa (2008). Ed Harris, who directed and starred in Appaloosa, said of Gammon: "If he'd been born 20 years earlier he'd have been in every other western ever made."
Gammon had a perpetual squint that could be interpreted as crazy or wise – or both. His best-known role was as the unflappable baseball manager Lou Brown in the comedy Major League (1989). On television, he played Don Johnson's father in the series Nash Bridges from 1996 to 2001. Gammon's ability to reveal an essential weakness, and the...
With a voice that sounded as if it were strained through gravel chipped from his craggy face, James Gammon, who has died of cancer aged 70, had a memorable presence as a character actor in crime films, rural dramas and especially westerns, from A Man Called Horse (1970) to Urban Cowboy (1980), Silverado (1985), Wyatt Earp (1994), Wild Bill (1995) and Appaloosa (2008). Ed Harris, who directed and starred in Appaloosa, said of Gammon: "If he'd been born 20 years earlier he'd have been in every other western ever made."
Gammon had a perpetual squint that could be interpreted as crazy or wise – or both. His best-known role was as the unflappable baseball manager Lou Brown in the comedy Major League (1989). On television, he played Don Johnson's father in the series Nash Bridges from 1996 to 2001. Gammon's ability to reveal an essential weakness, and the...
- 9/19/2010
- by Michael Carlson
- The Guardian - Film News
Madrid -- Meryl Streep and Antonio Banderas will receive Donostia lifetime achievement awards at this year's San Sebastian International Film Festival, organizers said Friday.
Local hero Banderas will pick up his award Sept. 19, one night after presenting the European premiere of Richard Eyre's "The Other Man" at the opening night ceremony. The festival will honor Streep on Sept. 26.
Jonathan Demme will chair the official jury, which awards the non-cash Gold Shell along with the other prizes in the festival's main competition. Demme is joined by German cinematographer Michael Ballhaus, Argentine producer Martina Gusman Urruti, Japanese actor-director Masato Harada, Lebanese director Nadine Labaki, English-Italian director Clare Peploe and Spanish actress Leonor Watling.
Chinese multihyphenate Joan Chen will head the Altadis New Directors Jury, which awards the coveted 90,000 euros ($128,000) award to be split between the director and the Spanish distributor of the film.
Cuban actress Mirtha Ibarra will head the Horizontes Jury,...
Local hero Banderas will pick up his award Sept. 19, one night after presenting the European premiere of Richard Eyre's "The Other Man" at the opening night ceremony. The festival will honor Streep on Sept. 26.
Jonathan Demme will chair the official jury, which awards the non-cash Gold Shell along with the other prizes in the festival's main competition. Demme is joined by German cinematographer Michael Ballhaus, Argentine producer Martina Gusman Urruti, Japanese actor-director Masato Harada, Lebanese director Nadine Labaki, English-Italian director Clare Peploe and Spanish actress Leonor Watling.
Chinese multihyphenate Joan Chen will head the Altadis New Directors Jury, which awards the coveted 90,000 euros ($128,000) award to be split between the director and the Spanish distributor of the film.
Cuban actress Mirtha Ibarra will head the Horizontes Jury,...
- 9/5/2008
- by By Pamela Rolfe
- The Hollywood Reporter - Movie News
People fall in love with the wrong people all the time. But Miki Bonomiya, a character played by Yuki Amami in Masato Harada's "Inugami", sets a record for really bad choices. It would reveal too many surprises to explain the forbidden nature of her two romances. Let's just say they produce disturbing dreams, family ghosts, stark tragedies, mysterious fogs and angry forest gods in a remote mountain village on the island of Shikoku.
Drenched in Japanese mysticism and a plot that teeters on the ridiculous, "Inugami" is too marginal to enjoy much exposure outside its native country other than at film festivals. But evocative, moody art direction and graceful, sweeping camera movements do please the eye. It is playing in competition at the Berlin International Film Festival.
Working from the book by Masako Bando, writer-director Harada plops us down in an enchanted village, where generations of women in the Bonomiya family watch over an urn that contains the Inugami, which are wild dog gods. The appearance of a 25-year-old schoolteacher, Akira (Atsuro Watabe), not only stirs feelings in the heart of the spinster Miki but also riles the gods in the urn. Soon, nightmares plague the villagers, and deaths take place. With each tragedy, Miki grows younger, arousing village animosity and triggering vows of revenge against her accursed family.
Harada plays the supernatural tale amid lush forests of ancient cedar trees and a traditional house, where Miki makes exquisite paper using the old-fashioned method of mixing plants, water and glue. Junichi Fujisawa's camera seeks high places from which to spin above or swoop down on these ill-fated people.
The movie is quite a ride, but all that is likely to haunt the minds of moviegoers are the dark and glorious settings. Amami and Watabe's passion and couplings have erotic charge, and the actors make the incredible feel credible. But one must possess a deep love of Eastern mysticism to get anything else out of this fantasy-horror-thriller.
INUGAMI
An Asmik Ace Entertainment production
Producer: Masato Hara
Screenwriter-director: Masato Harada
Based on the book by: Masako Bando
Director of photography: Junichi Fujisawa
Production designer: Hisao Inagaki
Music: Takatsugu Muramatsu
Editor: Soichi Ueno
Color/stereo
Cast:
Miki Bonomiya: Yuki Amami
Akira Nutahara: Atsuro Watabe
Takanao Bonomiya: Kenichi Yajima
Momoyo Bonomiya: Kanako Fukaura
Seiji Doi: Eugene Harada
Rika Bonomiya: Myu Watase
Running time -- 105 minutes
No MPAA rating...
Drenched in Japanese mysticism and a plot that teeters on the ridiculous, "Inugami" is too marginal to enjoy much exposure outside its native country other than at film festivals. But evocative, moody art direction and graceful, sweeping camera movements do please the eye. It is playing in competition at the Berlin International Film Festival.
Working from the book by Masako Bando, writer-director Harada plops us down in an enchanted village, where generations of women in the Bonomiya family watch over an urn that contains the Inugami, which are wild dog gods. The appearance of a 25-year-old schoolteacher, Akira (Atsuro Watabe), not only stirs feelings in the heart of the spinster Miki but also riles the gods in the urn. Soon, nightmares plague the villagers, and deaths take place. With each tragedy, Miki grows younger, arousing village animosity and triggering vows of revenge against her accursed family.
Harada plays the supernatural tale amid lush forests of ancient cedar trees and a traditional house, where Miki makes exquisite paper using the old-fashioned method of mixing plants, water and glue. Junichi Fujisawa's camera seeks high places from which to spin above or swoop down on these ill-fated people.
The movie is quite a ride, but all that is likely to haunt the minds of moviegoers are the dark and glorious settings. Amami and Watabe's passion and couplings have erotic charge, and the actors make the incredible feel credible. But one must possess a deep love of Eastern mysticism to get anything else out of this fantasy-horror-thriller.
INUGAMI
An Asmik Ace Entertainment production
Producer: Masato Hara
Screenwriter-director: Masato Harada
Based on the book by: Masako Bando
Director of photography: Junichi Fujisawa
Production designer: Hisao Inagaki
Music: Takatsugu Muramatsu
Editor: Soichi Ueno
Color/stereo
Cast:
Miki Bonomiya: Yuki Amami
Akira Nutahara: Atsuro Watabe
Takanao Bonomiya: Kenichi Yajima
Momoyo Bonomiya: Kanako Fukaura
Seiji Doi: Eugene Harada
Rika Bonomiya: Myu Watase
Running time -- 105 minutes
No MPAA rating...
Opens
Friday, Dec. 5
Hollywood -- and America's -- fascination with all things Asian continues in Edward Zwick's "The Last Samurai", a movie that successfully merges a Western with a samurai movie. Zwick triumphantly pulls off what sounds like the height of arrogance: a Yank directing a samurai movie and, worse, Tom Cruise playing the title role. Hewing close to historical accuracy, though, the film does a reasonable job of situating Cruise, playing an Indian fighter and Civil War veteran, in Japan during the 1876-77 Samurai Revolt to catch the final moments of samurai culture and its spirit of Bushido.
Relying on a solidly grounded screenplay with principled though doomed heroes, rapacious villains, intriguing supporting characters and a climactic battle in which bows and arrows and swords go up against howitzers and repeating rifles, "Samurai" is a hugely satisfying entertainment that will attract a broad spectrum of audiences around the world. Zwick fully exploits the star power at his disposal, pairing off Cruise and Japanese star Ken Watanabe as two larger-than-life warriors, initially adversaries but eventually allies and even friends.
The script by Zwick, Marshall Herskovitz and John Logan tackles an unusual four-act structure, which suits the epic nature of the story. We first encounter Cruise's Capt. Nathan Algren as a somewhat cliched figure -- a whiskey-soaked, self-pitying ex-soldier reduced to performing a one-man Wild West show in San Francisco to sell Winchester rifles. Flashbacks explain that Nathan lost his soul during a massacre of an Indian village that included women and children and was carried out under the command of Col. Bagley (Tony Goldwyn).
Then who should rescue Nathan from his self-destructive stupor but former comrades Zebulon Gant (Billy Connolly) and Col. Bagley himself? The two woo him to accept a commission to train the conscript army of a Japanese emperor eager to embrace the modern world.
Arriving in Japan refreshed by sea breezes yet with no loss of cynicism or self-contempt, Nathan is up against a timetable that won't allow him to train the army in modern weaponry properly before challenging a renegade band of samurai lead by Katsumoto (Watanabe). A battle in a foggy forest results in the rout of the army and capture of Nathan by Katsumoto, who spares the foreign soldier despite the fact Nathan slew his brother-in-law in combat.
The second section isolates Nathan in a rural village over fall and winter. In often silent sequences, he watches and learns samurai culture, ethos and fighting techniques. Katsumoto unaccountably speaks English, so the two engage in conversations that explore their areas of differences and agreement. Rather startlingly, Katsumoto lodges Nathan with his sister, Taka (Koyuki), the widow of the samurai Nathan killed. By winter's end and only after repeated beatings in fencing with his bitter antagonist, Ujio (Hiroyuki Sanada), Nathan emerges as a samurai who has ingratiated himself to his host family by saving them from a ninja attack.
In the third section, Nathan accompanies Katsumoto to Tokyo for a political showdown with the emperor (Shichinosuke Nakamura) and, more pivotally, Omura (Masato Harada), the businessman behind the transformation of feudal Japan into a modern nation, mostly for his own financial benefit. Katsumoto is placed under arrest and offered the honorable choice of taking his own life. But Nathan and the other samurai spring Katsumoto, and they flee Tokyo.
The final section awesomely pits a large modern army against the samurai in battle, where Nathan and Katsumoto seek to neutralize the big guns and reduce things to hand-to-hand combat where the samurai might prevail. Zwick makes it amply clear that in this rousing battle sequence, we are witness to the passing of the samurai era.
Cruise and Watanabe underplay their roles, letting their characters' deeds speak for them and permitting intimacies not usually associated with epic moviemaking. Cruise's transformation into a samurai is convincing as the actor makes us understand that this the only way he can reclaim his soul. Watanabe's confusion over the mores and manners of modern warfare is equaled by his determination to remain loyal to the old ways, even if it means his death.
Timothy Spall enlivens all his scenes as an English photographer enthralled with Japanese culture. Model-actress Koyuki lends her ethereal beauty and gentle manner to the woman who captures Nathan's heart. Goldwyn and Harada though are fairly conventional villains.
Shot mostly in New Zealand, the movie makes superb use of its period costumes, sets and weaponry. Occasionally, a CG image or matte painting calls attention to itself, but overall the historical depiction represents Hollywood technical crafts at their best. The kendo drills and the fights maintain a grace and expressiveness equal to a Japanese samurai movie.
John Toll's cinematography adds luster to the film's epic sweep. But Hans Zimmer's score works a little too hard. He might have mixed Eastern and Western musical themes to greater advantage, but instead Zimmer sticks mostly to Western motifs and instruments.
THE LAST SAMURAI
Warner Bros. Pictures
A Radar Pictures/Bedford Falls Co./Cruise-Wagner production
Credits:
Director: Edward Zwick
Screenwriters: John Logan, Edward Zwick, Marshall Herskovitz
Story: John Logan
Producers: Edward Zwick, Marshall Herskovitz, Tom Cruise, Paula Wagner, Scott Kroopf, Tom Engelman
Executive producers: Ted Field, Richard Solomon, Vincent Ward, Charles Mulvehill
Director of photography: John Toll
Production designer: Lilly Kilvert
Music: Hans Zimmer
Costume designer: Ngila Dickson
Editors: Steven Rosenblum, Victor du Bois
Cast:
Nathan Algren: Tom Cruise
Katsumoto: Ken Watanabe
Simon Graham: Timothy Spall
Zebulon Gant: Billy Connolly
Col. Bagley: Tony Goldwyn
Ujio: Hiroyuki Sanada
Taka: Koyuki
Omura: Masato Harada
Nobutada: Shin Koyamada
Silent Samurai: Seizo Fukumoto
Running time -- 154 minutes
MPAA rating: R...
Friday, Dec. 5
Hollywood -- and America's -- fascination with all things Asian continues in Edward Zwick's "The Last Samurai", a movie that successfully merges a Western with a samurai movie. Zwick triumphantly pulls off what sounds like the height of arrogance: a Yank directing a samurai movie and, worse, Tom Cruise playing the title role. Hewing close to historical accuracy, though, the film does a reasonable job of situating Cruise, playing an Indian fighter and Civil War veteran, in Japan during the 1876-77 Samurai Revolt to catch the final moments of samurai culture and its spirit of Bushido.
Relying on a solidly grounded screenplay with principled though doomed heroes, rapacious villains, intriguing supporting characters and a climactic battle in which bows and arrows and swords go up against howitzers and repeating rifles, "Samurai" is a hugely satisfying entertainment that will attract a broad spectrum of audiences around the world. Zwick fully exploits the star power at his disposal, pairing off Cruise and Japanese star Ken Watanabe as two larger-than-life warriors, initially adversaries but eventually allies and even friends.
The script by Zwick, Marshall Herskovitz and John Logan tackles an unusual four-act structure, which suits the epic nature of the story. We first encounter Cruise's Capt. Nathan Algren as a somewhat cliched figure -- a whiskey-soaked, self-pitying ex-soldier reduced to performing a one-man Wild West show in San Francisco to sell Winchester rifles. Flashbacks explain that Nathan lost his soul during a massacre of an Indian village that included women and children and was carried out under the command of Col. Bagley (Tony Goldwyn).
Then who should rescue Nathan from his self-destructive stupor but former comrades Zebulon Gant (Billy Connolly) and Col. Bagley himself? The two woo him to accept a commission to train the conscript army of a Japanese emperor eager to embrace the modern world.
Arriving in Japan refreshed by sea breezes yet with no loss of cynicism or self-contempt, Nathan is up against a timetable that won't allow him to train the army in modern weaponry properly before challenging a renegade band of samurai lead by Katsumoto (Watanabe). A battle in a foggy forest results in the rout of the army and capture of Nathan by Katsumoto, who spares the foreign soldier despite the fact Nathan slew his brother-in-law in combat.
The second section isolates Nathan in a rural village over fall and winter. In often silent sequences, he watches and learns samurai culture, ethos and fighting techniques. Katsumoto unaccountably speaks English, so the two engage in conversations that explore their areas of differences and agreement. Rather startlingly, Katsumoto lodges Nathan with his sister, Taka (Koyuki), the widow of the samurai Nathan killed. By winter's end and only after repeated beatings in fencing with his bitter antagonist, Ujio (Hiroyuki Sanada), Nathan emerges as a samurai who has ingratiated himself to his host family by saving them from a ninja attack.
In the third section, Nathan accompanies Katsumoto to Tokyo for a political showdown with the emperor (Shichinosuke Nakamura) and, more pivotally, Omura (Masato Harada), the businessman behind the transformation of feudal Japan into a modern nation, mostly for his own financial benefit. Katsumoto is placed under arrest and offered the honorable choice of taking his own life. But Nathan and the other samurai spring Katsumoto, and they flee Tokyo.
The final section awesomely pits a large modern army against the samurai in battle, where Nathan and Katsumoto seek to neutralize the big guns and reduce things to hand-to-hand combat where the samurai might prevail. Zwick makes it amply clear that in this rousing battle sequence, we are witness to the passing of the samurai era.
Cruise and Watanabe underplay their roles, letting their characters' deeds speak for them and permitting intimacies not usually associated with epic moviemaking. Cruise's transformation into a samurai is convincing as the actor makes us understand that this the only way he can reclaim his soul. Watanabe's confusion over the mores and manners of modern warfare is equaled by his determination to remain loyal to the old ways, even if it means his death.
Timothy Spall enlivens all his scenes as an English photographer enthralled with Japanese culture. Model-actress Koyuki lends her ethereal beauty and gentle manner to the woman who captures Nathan's heart. Goldwyn and Harada though are fairly conventional villains.
Shot mostly in New Zealand, the movie makes superb use of its period costumes, sets and weaponry. Occasionally, a CG image or matte painting calls attention to itself, but overall the historical depiction represents Hollywood technical crafts at their best. The kendo drills and the fights maintain a grace and expressiveness equal to a Japanese samurai movie.
John Toll's cinematography adds luster to the film's epic sweep. But Hans Zimmer's score works a little too hard. He might have mixed Eastern and Western musical themes to greater advantage, but instead Zimmer sticks mostly to Western motifs and instruments.
THE LAST SAMURAI
Warner Bros. Pictures
A Radar Pictures/Bedford Falls Co./Cruise-Wagner production
Credits:
Director: Edward Zwick
Screenwriters: John Logan, Edward Zwick, Marshall Herskovitz
Story: John Logan
Producers: Edward Zwick, Marshall Herskovitz, Tom Cruise, Paula Wagner, Scott Kroopf, Tom Engelman
Executive producers: Ted Field, Richard Solomon, Vincent Ward, Charles Mulvehill
Director of photography: John Toll
Production designer: Lilly Kilvert
Music: Hans Zimmer
Costume designer: Ngila Dickson
Editors: Steven Rosenblum, Victor du Bois
Cast:
Nathan Algren: Tom Cruise
Katsumoto: Ken Watanabe
Simon Graham: Timothy Spall
Zebulon Gant: Billy Connolly
Col. Bagley: Tony Goldwyn
Ujio: Hiroyuki Sanada
Taka: Koyuki
Omura: Masato Harada
Nobutada: Shin Koyamada
Silent Samurai: Seizo Fukumoto
Running time -- 154 minutes
MPAA rating: R...
- 1/30/2004
- The Hollywood Reporter - Movie News
People fall in love with the wrong people all the time. But Miki Bonomiya, a character played by Yuki Amami in Masato Harada's "Inugami", sets a record for really bad choices. It would reveal too many surprises to explain the forbidden nature of her two romances. Let's just say they produce disturbing dreams, family ghosts, stark tragedies, mysterious fogs and angry forest gods in a remote mountain village on the island of Shikoku.
Drenched in Japanese mysticism and a plot that teeters on the ridiculous, "Inugami" is too marginal to enjoy much exposure outside its native country other than at film festivals. But evocative, moody art direction and graceful, sweeping camera movements do please the eye. It is playing in competition at the Berlin International Film Festival.
Working from the book by Masako Bando, writer-director Harada plops us down in an enchanted village, where generations of women in the Bonomiya family watch over an urn that contains the Inugami, which are wild dog gods. The appearance of a 25-year-old schoolteacher, Akira (Atsuro Watabe), not only stirs feelings in the heart of the spinster Miki but also riles the gods in the urn. Soon, nightmares plague the villagers, and deaths take place. With each tragedy, Miki grows younger, arousing village animosity and triggering vows of revenge against her accursed family.
Harada plays the supernatural tale amid lush forests of ancient cedar trees and a traditional house, where Miki makes exquisite paper using the old-fashioned method of mixing plants, water and glue. Junichi Fujisawa's camera seeks high places from which to spin above or swoop down on these ill-fated people.
The movie is quite a ride, but all that is likely to haunt the minds of moviegoers are the dark and glorious settings. Amami and Watabe's passion and couplings have erotic charge, and the actors make the incredible feel credible. But one must possess a deep love of Eastern mysticism to get anything else out of this fantasy-horror-thriller.
INUGAMI
An Asmik Ace Entertainment production
Producer: Masato Hara
Screenwriter-director: Masato Harada
Based on the book by: Masako Bando
Director of photography: Junichi Fujisawa
Production designer: Hisao Inagaki
Music: Takatsugu Muramatsu
Editor: Soichi Ueno
Color/stereo
Cast:
Miki Bonomiya: Yuki Amami
Akira Nutahara: Atsuro Watabe
Takanao Bonomiya: Kenichi Yajima
Momoyo Bonomiya: Kanako Fukaura
Seiji Doi: Eugene Harada
Rika Bonomiya: Myu Watase
Running time -- 105 minutes
No MPAA rating...
Drenched in Japanese mysticism and a plot that teeters on the ridiculous, "Inugami" is too marginal to enjoy much exposure outside its native country other than at film festivals. But evocative, moody art direction and graceful, sweeping camera movements do please the eye. It is playing in competition at the Berlin International Film Festival.
Working from the book by Masako Bando, writer-director Harada plops us down in an enchanted village, where generations of women in the Bonomiya family watch over an urn that contains the Inugami, which are wild dog gods. The appearance of a 25-year-old schoolteacher, Akira (Atsuro Watabe), not only stirs feelings in the heart of the spinster Miki but also riles the gods in the urn. Soon, nightmares plague the villagers, and deaths take place. With each tragedy, Miki grows younger, arousing village animosity and triggering vows of revenge against her accursed family.
Harada plays the supernatural tale amid lush forests of ancient cedar trees and a traditional house, where Miki makes exquisite paper using the old-fashioned method of mixing plants, water and glue. Junichi Fujisawa's camera seeks high places from which to spin above or swoop down on these ill-fated people.
The movie is quite a ride, but all that is likely to haunt the minds of moviegoers are the dark and glorious settings. Amami and Watabe's passion and couplings have erotic charge, and the actors make the incredible feel credible. But one must possess a deep love of Eastern mysticism to get anything else out of this fantasy-horror-thriller.
INUGAMI
An Asmik Ace Entertainment production
Producer: Masato Hara
Screenwriter-director: Masato Harada
Based on the book by: Masako Bando
Director of photography: Junichi Fujisawa
Production designer: Hisao Inagaki
Music: Takatsugu Muramatsu
Editor: Soichi Ueno
Color/stereo
Cast:
Miki Bonomiya: Yuki Amami
Akira Nutahara: Atsuro Watabe
Takanao Bonomiya: Kenichi Yajima
Momoyo Bonomiya: Kanako Fukaura
Seiji Doi: Eugene Harada
Rika Bonomiya: Myu Watase
Running time -- 105 minutes
No MPAA rating...
- 2/14/2001
- The Hollywood Reporter - Movie News
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