In filming his families, Ozu preferred interiors, particularly in Japanese-style houses. He would shoot from a low position, with the camera typically set at the height of a person sitting on a tatami mat in order to give an impression of intimacy.
He also used the camera in ways that defied imported-from-Hollywood convention, such as shooting characters engaged in conversation in alternating frontal head-and-shoulder shots, instead of the more standard over-the-shoulder shots. But as strange as these shots might at first seem to the uninitiated, they gave audiences the feeling of looking directly into the hearts of the characters, past masks of politeness.
Ozu also disliked fades and dissolves. Instead, he preferred straight cuts to transition between scenes, using postcardlike shots of office buildings, alleyways and other mundane subjects that gave audiences a precise, layered introduction to the setting for the upcoming action.
In contrast to standard industry practice, Ozu refrained from underlining emotions with dramatic close-ups and surging background music. Instead, he typically shot such scenes from a distance and confined music to transitions, while using it to offset or contrast the mood of the characters. Thus, lively tunes followed sad scenes
Kagemusha (1980) Directed By Akira Kurosawa
Why Kurosawa remains important is because in our era of naturalism and handheld camera as the summit of real filmmaking his films reminds us of the beauty of composition, giving the performer room to fill the frame with their bodies and how we can tell stories by movement of camera or movement within. Kagemusha is one of his late career triumphs, using color, tone, staging and performance to tell a story, it defines the phrase “moving picture” in every way and shows why we need to remember that painting what feels real can manifest itself in infinite ways.
You can rent it on @amazonprimevideo#Kagemusha#akirakurosawa#cinema#movies#film#japan#japanesefilm#japanesecinema#classic#asia#asianfilm#asiancinema#80sfilm #1980
0 343 days ago
Tonight’s the night!!! ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀ Meet the cast and crew of our movie - Mukbang Masarap... Plus, rock your best socks to win some great prizes!
⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Where: @bridgerunners - 67 Loisaida Avenue New York, NY
When: Tonight @ 6:30 PM
⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ Free entry, free lumpias provided by @ihawan_ - Music by @okny & @paavozatopek / Winners of Best Socks receive prizes from @QiloNYC & @DespiertaNYC + an invitation to our private screening of the entire film on Monday
Introducing @stanthevidal who plays “Tito Bong” but also wore a lot of hats from casting to production and were lucky to have him be apart of this film!
1) Tell us more about your character:
I play Tito Bong, the uncle of the Mark who is the main character in the film. He is like the father figure and tries to steer Mark in the path that will lead him to success. However, it does not immediately make an impact on Mark. You'll have to watch the film to see how it turns out. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀
2) What is your favorite part about being involved in this film?
It's hard to say because I was there in the initial stages when our director, Raymond Eugenio, was creating the story and when the story was set, I did the casting for the roles in the film. I was there throughout the production as well. I think that my favorite part about being involved with this project was the passion and enthusiasm that every single person had to make this great little film. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
3) If you could do a Mukbang what would you do it on?
Probably the entire menu from Jolllibee!
7 205 days ago
Burning (2018) Directed By Lee Chang-dong
Lee Chang-dong gets a lot of burn (no pun intended) on this page. Why? Because I believe he is one of the very best filmmakers working now. His new film Burning has so many levels, part story of loss, part of story of visibility, part story of what constitutes being destructive, part document of the quiet side of class warfare, but this is what makes Chang-dong such a dynamic filmmaker, he touches many topics, understands their connections and contractions and leaves it for us to judge through rooted acting performances and thorough exploration of conditions. Burning doesn’t disappoint, led by a trio of lead performances that are all amongst the years best, it’s quiet and loud at the same time and has two of the best single scenes in the Directors already magnificent career. It’s success makes me happy because maybe more people will dig into the filmography of one of the worlds best as he is still pumping them out.
Burning is currently playing in theatres. See it now!
3 425 days ago
Intellect is pleased to announce that issue 5 of NANG, a 10-issue magazine dedicated to cinema in Asia, is now available. For more information about the issue, click here >>
Goran Topalovic & Eric Choi
Issue 5 is dedicated to Inspiration. Starting from candid interviews with twelve filmmakers spanning different generations and backgrounds, this Issue collects some of the key cinematic sources of their creative inspirations before delving into them via accompanying critical essays, conversations, and special features. The intention is both to shed light on the under-explored nexus between cinematic practice and experience, between watching, making, and being inspired by films, and to open up the conversation onto figures and works across industries and eras. As present, as it is invisible, inspiration can emerge from anywhere, often out of the blue, at any stage of the creative process. Ultimately, this Issue invites us to celebrate all sources of inspiration, and all resulting works, as a testament to the myriad of human interactions and artistic endeavors that make up the cinema.
Goran Topalovic is a US-based film curator, writer, and collage artist. He’s the co-founder of Subway Cinema and the New York Asian Film Festival.
Eric Choi is a Film archivist at the Korean Film Archive and filmmaker. Currently working on finding lost Korean films scattered around the world as well as creating video essays on Korean genre cinema.
Sam Ho, Darcy Paquet, QMisato, Mark Schilling, Jasper Sharp
Featuring interviews with Tsui Hark, Yoshida Daihachi, E J-yong, Tan Pin Pin, Toyoda Toshiaki, Erik Matti, Li Yu, Alankrita Shrivastava, Mouly Surya, Nattawut Poonpiriya, Bo Wang, Jeong Gayoung
[NeoFilmShop.com - Movie Review of the Day] 50 First Kisses 50次初吻 (2018) - Japan
Aka 50 Kaime no Fasuto Kisu
Reviewed by Andrew Chan (Film Critics Circle of Australia)
The Japanese remake of Hollywood’s “50 First Dates” stay far to close to its source material and the result of director Yuichi Fukuda’s effort feels like a complete carbon copy of the original and almost completely uninspiring. Replacing the chemistry driven duo of Adam Sandler and Drew Barrymore will always be a tough ask and Japanese counterparts Takayuki Yamada and Masami Nagasawa. The real problem lies in the fact that the original heavily relied on the sweet love between the two leads and neither Yamada or Nagasawa manages to convinces in their short term memory loss romance.
Takayuki Yamada plays the star gazing Hawaiian Japanese tourist guide / playboy who meets the girl of his dreams during a breakfast encounter at a local cafe. The sweet girl played by the lovely Masami Nagasawa suffers from a daily short term memory loss where her memory resets everyday. This allows the premises where Yamada continuous having first dates with her, but it becomes repetitive and by the time of the supposedly touching finale, we feel an hour too long as the pair fails to show why they fall for each other and the believability factor of the romance does not help either. Jiro Sato who plays the overtly caring father provide the film with its best moment in a hilarious “pineapple pen” birthday dance.
All in all, “50 First Kisses” feels too much like the original and the lack of imaginative input by director Yuichi Fukuda is especially uninspiring. The actors try extremely hard to convince, but fails to produce any sort of flame or fire so desperately needed in these kind of romantic comedies. As audience we need to connect to the relationships and love, but instead the film takes short cuts like rehashing the famed “5cm per Second” - “one more time” soundtrack to inflict emotions. The effect backfires as we are reminded of much better films than this one.
I rated 5.5/10
2 305 days ago
Of course the day I’m suppose to film my big death scene it’s pouring outside..🥶☠️
拍外景就是要下雨啊 不然要幹嘛...我這運氣我也是認了 冷就冷吧 屍體還是要躺的
9 1155 days ago
Our Taiwanese New Wave Cinema film program continues... A City of Sadness (1989, dir: Hsiao-Hsien Hou) – Wed 14 Nov, 7pm
Hou’s early career films are capped by this masterpiece, A City of Sadness. Hong Kong star Tony Leung Chiu-Wai bears mute witness as his family becomes embroiled in street level crime, anti-government uprisings, and the resultant Kuomintang crackdowns in the years after the Japanese occupation.
Yi Yi (2000, dir: Edward Yang) – Mon 19 Nov, 7pm
An epic film interweaving the stories of several generations of a Taiwanese family. Winning Best Director at Cannes, Yang’s film touches on the thrill of new love, the shock of sudden ailment, the tensions between modernity and tradition, and the rituals that bind families together. A life affirming film delivered with good humour and grace.
Film program curated by Gail Kovatseff
Notes by Gail Kovatseff and Nick Godfrey
Special thanks to Sheree Ramage & the Asia Pacific Screen Awards, Mat Kesting, Nick Godfrey & Mike Walsh
Presented by the @mediaresourcecentre and @adelaidefescent for @ozasiafestival#TaiwanFilm#HsiaoHsienHou#ATimeToLiveATimeToDie#DustInTheWind#ACityofSadness#TonyLeungChiuWai#YiYi#EdwardYang#AsianFilm#OzAsia#MercuryCinema#adlwestend#westendadl
Fireworks (1997) Directed By Takeshi Kitano
Kitano’s signature style of finding the human side of characters we would otherwise see as stock and mechanical is in full use in Fireworks. The tale of a grief stricken police officer who enters an arrangement with those he supposed to oppose isn’t as much a story about morals as its a chronicle showing us cause and effect, which to me is so much more powerful. How do things happen? And what are the inevitable outcomes when situations converge. Kitano handles the steps with a grace few Directors have ever known.
You can see it on @filmstruck until the end of the month when it leaves us 😢. #fireworks#takeshikitano#hanabi#film#cinema#movies#japan#japanesefilm#japanesecinema#asia#asianfilm#asiancinema
Hey that’s, me! Catch me on December 1 at @phtimeisnow in Orlando, Florida!
I will be speaking in an interactive panel about the growing demand for representation among minority groups and explore its impact across industries.
Alongside @cheeri_cheeri & @ernied of @asianamericanlife 🇵🇭
First bits of the score have come in for the sound editing our epic “The Steed” just gets more exciting as a producer this is a real joy to experience. 🔥🔥🔥 @threeflamespictures always working with gratitude 🙏
The Promise (2017) ▪️ Ради чего жить в этом мире ▪️
▪️Не бросай меня... Обещай мне, что не оставишь меня ▪️
▪️ Мы думали, что покончив с собой решим все проблемы ▪️
▪️Мы будем вместе в новой жизни ▪️ «Обещание» превзошло моё ожидание. Фильм ужасов оказался настоящей драмой. Азиатский кинематограф этим и хорош, что независимо от жанровой составляющей на выходе можно получить порцию философии. Или же, я уже привыкла к подобным фильмам и воспринимаю их так. Но стоит отметить, что так или иначе, их кинокартины так или иначе отличаются и тем самым. Что и не обошло данный фильм. По сюжету две подруги решили покончить с собой и дали обещание, что сделают это вместе на крыше одного из недостроенных комплексов. Но получилось так, что на подобный шаг рискнула всего лишь одна из подруг, а ггероиня оказавшись на поводу у страха убежала, не сдержав обещание... Прошло много лет и вот уже у неё растёт дочь, которой вот- вот стукнет 15 лет, и нечто из прошлого заставляет вспоминать тот злополучный день нашу ггероиню, и она понимает, что её подруга вернулась чтобы забрать обещанное...
Фильмов с таким сюжетом нынче существует много, но в каждом из них есть нечто свое... По крайней мере, данная картина, не сказать, что выделяется, но реализация немного нетипична. Даже несмотря на предсказуемость поворота сюжета, все-таки хочется досмотреть до конца и увидеть как же это покажут. Однако, я не думала, что на меня данный фильм произведёт такое впечатление. Эмоции от просмотра и впечатления просто на грани. И не смотря на финальную драму, последние минуты от фильма светлые. Спасибо создателям картины и актёрам за проделанную работу