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Michelle Yeoh to Be Feted at Macau Festival

Michelle Yeoh to Be Feted at Macau Festival
Malaysian star Michelle Yeoh is to be the subject of the In Focus section at next month’s International Film Festival & Awards Macao. The festival (Dec. 8-14) has also completed its lineup.

Yeoh, whose credits stretch from “Crouching Tiger, Hidden Dragon” to “Tomorrow Never Dies” and “Guardians of the Galaxy Vol. 2,” will appear in an in-conversation session Dec. 14. The festival will also screen her 2010 effort “Reign of Assassins,” directed by Su Chao-pin.

The festival added five films across its different sections and unveiled details of the Crossfire section, in which directors pick genre films that influenced them.

The festival added Craig Gillespie’s “I, Tonya,” Korean blockbuster “The Outlaws,” French smash hit “C’est La Vie!” (aka “Le Sens De La Fete”) from Olivier Nakache and Eric Toledano; and Macau film maker Lorence Chan’s “Passing Rain.” Iffam jury president Laurent Cantet will introduce a special presentation of his latest film, “The Workshop
See full article at Variety - Film News »

Charlyne Yi Accuses David Cross of Being ‘Racist’ Towards Her, Cross Responds to ‘Deeply Upsetting’ Claims

Charlyne Yi Accuses David Cross of Being ‘Racist’ Towards Her, Cross Responds to ‘Deeply Upsetting’ Claims
Charlyne Yi has accused David Cross of racism in a Twitter thread in which she shared details of their first meeting. According to Yi, Cross made fun of her tattered pants and when she chose to ignore him, he responded, “What’s a matter? You don’t speak English? Ching-chong-ching-chong.” He then asked the comedian whether or not she would fight karate with him. Yi says the two met again years later and Cross introduced himself as if they never saw each other before.

Read More:Lena Headey Accuses Harvey Weinstein of Sexual Harassment: ‘I Felt Completely Powerless’

“I can tell the difference between this man making a joke vs condescending me,” Yi wrote. “This happened 10 years ago and I sure as hell hope he’s changed (or at the very least, he’s scared enough to not be his racist self)…it is very uncool that a 40+ man was being racist towards me,
See full article at Indiewire »

The Third Murder review – death-sentence drama leaves you hanging

The Japanese auteur’s striking film centres on a murder trial, and turns convention on its head to create a captivating and unknowable puzzle

Here’s an intriguing and cerebral quasi-genre picture from the Japanese auteur Hirokazu Koreeda. It’s a complex courtroom drama that can be read at least partly as a piercing – if not precisely passionate – rebuke to the death sentence. Capital punishment is still on the statute book in Japan, amid growing calls for its removal. A more obviously campaigning movie might concentrate on the possibility of hanging the wrong person, or on the squalor of state-sanctioned killing. Instead, The Third Murder is more elusive and relativist. It is about fighting a losing battle to establish the facts, and to grasp a truth that appears to change shape and disappear over the horizon. In the past, Koreeda has been celebrated for his movies in the classic Japanese “family drama” style,
See full article at The Guardian - Film News »

Oscars: Japan Selects 'Her Love Boils Bathwater' for Foreign-Language Category

Japan's entry for the foreign-language category at the Oscars is Ryota Nakano's Her Love Boils Bathwater (Yu o Wakasu Hodo no Atsui Ai).

Written and directed by Nakano, it tells the story of a mother who decides to resolve all her family's problems after she is diagnosed with terminal cancer. Rie Miyazawa won the Japan Academy Prize for best actress for her performance, while Hana Sugsaki won best supporting actress for her portrayal of Miyazawa's daughter. The film lost out to Godzilla Resurgence for best picture.

Japan first won the foreign-language Oscar in 1951 with Akira Kurosawa's Rashomon and last...
See full article at The Hollywood Reporter - Movie News »

The 2017 Muriels Hall Of Fame Inductees

The history of the Muriel Awards stretches aaaalllll the way back to 2006, which means that this coming season will be a special anniversary, marking 10 years of observing the annual quality and achievement of the year in film. (If you don’t know about the Muriels, you can check up on that history here.) The voting group, of which I am a proud member, having participated since Year One, has also made its personal nod to film history by always having incorporated 10, 25 and 50-year anniversary awards, saluting what is agreed upon by ballot to be the best films from those anniversaries during each annual voting process.

But more recently, in 2013, Muriels founders Paul Clark and Steven Carlson decided to expand the Muriels purview and further acknowledge the great achievements in international film by instituting The Muriels Hall of Fame. Each year a new group of films of varying number would be voted upon and,
See full article at Trailers from Hell »

Deathstroke Returns, Akira Kurosawa, Zatoichi, And The Man With No Name -- The Lrm Weekend

By David Kozlowski | 28 July 2017

Welcome to Issue #6 of The Lrm Weekend, a weekly column highlighting cool and unique videos about film, TV, comics, Star Wars, Marvel, DC, animation, and anime. We also want to hear from you, our awesome Lrm community! Share your favorite videos to: @LRM_Weekend and we'll post your Tweets below!

Previous Issues: 7.21.17 | 7.14.17 | 7.7.17 | 6.30.17 | 6.23.17

Hey Lrm Weekenders, we survived San Diego Comic-Con 2017 -- did you have a favorite moment? Thor: Ragnarok's latest trailer was a big hit at Lrm (Hulk speaks!). As July comes to a close, we're ramping up for the big movies and TV shows of the late summer through the holiday season.

This week our emphasis is on Akira Kurosawa, the legendary Japanese filmmaker who's works have inspired generations of directors, screenwriters, and actors. Kurosawa's films have been adpapted and remade dozens of times, and we hope that this week's column gives you
See full article at LRM Online »

Ugetsu

Ugetsu

Blu-ray

Criterion

1953 / B&W / 1:33 / Street Date June 6, 2017

Starring: Mitsuko Mito, Masayuki Mori, Kikue Mouri, Sakae Ozawa, Kinuyo Tanaka

Cinematography: Kazuo Miyagawa

Film Editor: Mitsuzô Miyata

Written by Matsutarô Kawaguchi, Yoshikata Yoda

Produced by Masaichi Nagata

Music: Fumio Hayasaka, Tamekichi Mochizuki, Ichirô Saitô

Directed by Kenji Mizoguchi

In 1941 Orson Welles was busy giving the film industry a hot foot with Citizen Kane, a bullet-train of a movie whose rhythms sprang from the ever accelerating hustle and bustle of contemporary American life. That same year one of Japan’s greatest filmmakers, Kenji Mizoguchi, was taking his sweet time with a four hour samurai epic set 240 years in the past, The 47 Ronin.

The story of a band of loyal soldiers seeking revenge on a corrupt landowner, The 47 Ronin plays out in a precisely measured, ceremonial style, its 241 minutes leading up to the moment when the fierce band of brothers
See full article at Trailers from Hell »

Leste Chen’s “Battle of Memories” is an intricate crime thriller with a very complex script

The concept of memory and its connection to reality is a theme that has produced cinematic masterpieces, with Akira Kurosawa’s “Rashomon” being one of the most prominent sample. Taiwanese director Leste Chen tackles this theme by adding scifi and crime thriller elements.

“Aroused by Gymnopedies” will screen at the New York Asian Film Festival, that will be on June 30 to July 16

The story takes place in 2025, when the erasing of undesired memories and feelings has become a trend. Jiang Feng is an author on the verge of divorcing his wife, Zhang Daichen.. In order to leave the painful memories of their marriage behind, he decides to erase them. After the procedure, he is given a device that can reinstate his memories, if he ever regrets his decision. However, the technology of the memory-erase dictates that in the case of reinstating, one has 72 hours to decide whether he will keep or erase his memories permanently.
See full article at AsianMoviePulse »

‘The Beguiled’ Brings Civil War to Life With Celluloid

‘The Beguiled’ Brings Civil War to Life With Celluloid
Philippe Le Sourd didn’t have to lobby for “The Beguiled” to be shot on film. Producer Youree Henley and Sofia Coppola, writer and director of the Civil War-era thriller, set to be released June 23 by Focus Features, had chosen film over digital before the French cinematographer joined the project.

Le Sourd was pleased. “I think everything should be shot on film,” he says.

Not that there weren’t challenges. The Dp, Oscar nominated for Wong Kar-wai’s “The Grandmaster,” which he also shot on film, acknowledges the difficulty in finding the right lab and the right process for celluloid. “But to bring [‘The Beguiled’] alive on film was a good fight,” he says.

Le Sourd used an Arricam Lite camera outfitted with vintage Cooke S2 and Panavision Ultra Speed lenses to shoot the movie, which revolves around a group of young women and their headmistress at a Southern girls’ boarding school who secretly shelter a wounded Union soldier. He pull-processed the Kodak Vision3 500T 5219 stock, allowing for a tonality he says he would not have been able to capture with digital. “I was reaching for something almost like a gray light, trying to awaken the soul of the darkness that you would feel in the middle of the Civil War,” he says.

Shot on location in Louisiana, the opening sequence of the film depicts a young girl gathering mushrooms in a forest that feels foreboding even in daylight when she encounters an injured enemy soldier. “One of our references was Kurosawa’s ‘Rashomon,’” Le Sourd says. “We tried to make this forest mysterious, almost like a cemetery. We go with her into the darkness of the Civil War.”

The bulk of “The Beguiled” was filmed in a plantation house that became the film’s Farnsworth Seminary. It wouldn’t have had electricity, so Le Sourd maximized the use of daylight and candles; he deployed studio lights sparingly. “I tried to use the most naturalistic approach, avoiding backlight,” he explains. “If you look at a Vermeer painting, you see that most of the light is candlelight or window light. That was my approach.”

The Dp operated the camera himself. He says he and Coppola, who won best director for the film in Cannes in May, didn’t prepare storyboards in advance of the 26-day shoot, choosing to make up shots as they went along. “Sofia doesn’t do many takes,” says Le Sourd. “The fact that she’s not looking at a monitor — we didn’t do any playback — saved us time.”

The pair focused on capturing the emotion and body language of a cast that includes Colin Farrell, Nicole Kidman, Kirsten Dunst and Elle Fanning, so the camera was most often in a static position. “We tried to be simple and avoid any showy camera movement,” Le Sourd says. “I find sometimes the more you move the camera, the less you get the emotion.”

Related storiesWong Kar-wai to Receive 2017 Lumiere AwardNew Zealand's Scenery and Visual Effects Wizardry Pull in High-End Film ProductionShort Documentary Uses Vr to Tell Humanitarian Tale of Syrian Boy
See full article at Variety - Film News »

Chinese-Japanese Partnership to Complete Akira Kurosawa’s Unfinished Movies

Chinese-Japanese Partnership to Complete Akira Kurosawa’s Unfinished Movies
China’s Zhejiang Jinke Entertainment has unveiled a partnership with Kurosawa Production that will see the two companies produce unfinished or unmade titles by the late Akira Kurosawa. The first movie to be made by the pair will be the Japanese master’s unfinished “Silvering Spear.”

Jinke is a publisher of mobile applications in China, and was listed on the Shenzhen stock market in 2015. Kurosawa Production is the 58-year-old company established by Kurosawa and now operated by his grandson Ko Kurosawa.

Akira Kurosawa, the director of such classics as “Seven Samurai,” “Yojimbo” and “Rashomon,” died in 1998. His “Kagemushka” won the Palme d’Or in Cannes in 1980.

The deal between Jinke and Kurosawa Production was announced Thursday on the sidelines of the Cannes Film Festival. The agreement covers all of Kurosawa’s unfinished features, with the exception of “The Mask of the Black Death.”

Set in the Warring States period, “Silvering
See full article at Variety - Film News »

New to Streaming: ‘The Age of Shadows,’ ‘Tampopo,’ ‘Small Crimes,’ and More

With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.

The Age of Shadows (Kim Jee-woon)

Eyebrows were raised when it was announced that South Korea will submit the as-yet-unreleased espionage thriller The Age of Shadows for Oscar consideration instead of Cannes hits The Handmaiden and The Wailing. Premiering out of competition at the 73rd Venice Film Festival, writer/director Jee-woon Kim’s return to Korean-language cinema after a brief stint in Hollywood with the Schwarzenegger-starrer The Last Stand
See full article at The Film Stage »

Walter Hill Talks ‘The Assignment’ and Making Movies in the 70s on ‘Wtf with Marc Maron’ — Listen

Walter Hill Talks ‘The Assignment’ and Making Movies in the 70s on ‘Wtf with Marc Maron’ — Listen
Legendary filmmaker Walter Hill sat down with Marc Maron recently for an episode of his acclaimed podcast “Wtf with Marc Maron,” and the two men went deep on everything from “The Assignment” to Hill’s early days as a production assistant to the state of cinema today. Before carving out his own filmmaking career, Hill worked with directors including Sam Peckinpah and Woody Allen.

Read More: Netflix to Make ‘Outlaw King’ With ‘Hell or High Water’s’ David Mackenzie and Chris Pine

Here are some snippets from Maron’s conversation with Hill.

On working on educational movies at the start of his career:

It was an offshoot of Encyclopedia Britannica movies. They used to make these 16mm films for students….I did research and I wrote part of them, but I immediately said to myself, “What the fuck am I doing? I don’t even like these movies.”

On what
See full article at Indiewire »

Lone Wolf & Cub: the best comic book movie franchise ever?

Craig Lines Apr 5, 2017

Marvel? DC? They have their moments, but how about Shogun Assassin, and in turn, the Lone Wolf & Cub movies?

Like most western viewers, I came to the Lone Wolf & Cub series via Shogun Assassin – a recut/mash-up of the first two movies, trimmed to 90 minutes and dubbed into English by a pair of enterprising Andy Warhol acolytes. It was one of the original 'video nasties' in the UK, banned for years, so highly desirable to a kid like me. And it didn’t disappoint. In fact, it was probably the goriest movie on the list.

While it may seem criminal now to butcher a pair of bona fide Japanese classics and completely change their meaning and tone, Shogun Assassin got away with it by being so vibrant and hyperactive. The inappropriate score is a joyful synthesiser meltdown and the spirited dub goes full-pelt, even if what they
See full article at Den of Geek »

All of the Films Joining Filmstruck’s Criterion Channel This April

Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This April will feature an exciting assortment of films, as noted below.

To sign up for a free two-week trial here.

Monday, April 3 The Chaos of Cool: A Tribute to Seijun Suzuki

In February, cinema lost an icon of excess, Seijun Suzuki, the Japanese master who took the art of the B movie to sublime new heights with his deliriously inventive approach to narrative and visual style. This series showcases seven of the New Wave renegade’s works from his career breakthrough in the sixties: Take Aim at the Police Van (1960), an off-kilter whodunit; Youth of the Beast (1963), an explosive yakuza thriller; Gate of Flesh (1964), a pulpy social critique; Story of a Prostitute (1965), a tragic romance; Tokyo Drifter
See full article at CriterionCast »

‘Akira Kurosawa’s Dreams’ Review (Criterion Collection)

Stars: Akira Terao, Martin Scorsese, Mieko Harada, Mitsuko Baisho | Written by Akira Kurosawa | Directed by Akira Kurosawa, Ishiro Honda

Made in 1990, in the twilight of his career, this is the kind of out-there movie that only an auteur of Akira Kurosawa’s status could have brought (or had financed) to fruition. He had help from some American cineaste buddies like Steven Spielberg (producing) and Martin Scorsese (lending his acting skills and a ginger wig); but the result is something steeped almost entirely in Japanese culture, its history and traditions.

Dreams is structured as a series of brief chapters, each based on one of Kurosawa’s own dreams. It’s an approach that at once seems chaotic: half-formed vignettes with no connective tissue. But at the end of its two-hour runtime, the linking themes coalesce in the mind. In short, this is a heartfelt cry about the threat of industrialisation upon rural Japanese life.
See full article at Blogomatic3000 »

‘Moonlight’ Director Barry Jenkins Takes Home an ‘Embarassing’ Haul From The Criterion Closet — Watch

‘Moonlight’ Director Barry Jenkins Takes Home an ‘Embarassing’ Haul From The Criterion Closet — Watch
Earlier this January, Barry Jenkins’ “Moonlight” won Best Picture — Drama at the 74th Golden Globes after racking up widespread critical acclaim since its world premiere at Telluride last September. The film has recently racked up eight Oscar nominations, including Best Picture and Best Director. In honor of his new film and all the recent accolade, the Criterion Collection invited Barry Jenkins to check out the famed Criterion Closet and pick out some films to take home. Watch the video below.

Read More: National Society of Film Critics Names ‘Moonlight’ Best Picture of 2016

Jenkins picks out a host of films from the closet that have special significance for him. Some of these films include the “John Cassavetes: Five Films” box set, which Jenkins describes as “foundational”; Krzysztof Kieślowski’s ten-hour long “Dekalog,” a film Jenkins once bought on Ebay because he “felt like he had to see it”; Mathieu Kassovitz’s “La Haine,
See full article at Indiewire »

Pablo Larraín’s 10 Favorite Films

He’s been working as a director for over a decade, but 2016 heralds the international break-out for Pablo Larraín. Not only did the Chilean filmmaker’s subversive drama The Club finally get a U.S. release earlier this year — the Berlinale premiere of which led to talking with jury member Darren Aronofsky, who would present him with what would be his Hollywood debut, Jackie — he also has two more features arriving in December. Along with the aforementioned Natalie Portman-led drama coming this week, he also has Chile’s Oscar entry, the formally thrilling Neruda starring Gael García Bernal, hitting theaters two weeks later.

It’s ideal time, then, to take a look at the films that have most influenced him. Culling from his submission of his top 10 films for the latest BFI Sight & Sound poll, his selections are a Film School 101 of formally distinctive landmarks. Featuring classics from Kubrick,
See full article at The Film Stage »

Film Review: ‘Mifune: The Last Samurai’

Film Review: ‘Mifune: The Last Samurai’
Mifune: The Last Samurai,” a dutiful and diverting but rather bare-bones documentary portrait, opens with a series of clips and photographs of Toshiro Mifune, the scowling-eyed Japanese actor who became, in effect, the world’s first action star. The first clip, from “Rashomon,” looks even more transgressive today than it did in 1950: It’s of Mifune’s scruffy medieval bandit forcing himself at knifepoint on a maiden he discovers in the woods. In the other clips, we see him leaping, glowering, slashing, grunting, cackling maniacally, facing down armies of sword fighters, and appearing just as volatile when he’s the victim, twitching to and fro like a gnarly demon as he evades a shower of arrows. The montage ends with a photograph of what looks like a different human being entirely: It’s Mifune relaxing at home, elegant and debonair, with a handsome warm smile and eyes that crinkle just so,
See full article at Variety - Film News »

‘Mifune: The Last Samurai’ Review: A Painfully Safe Documentary About One Of Cinema’s Most Explosive Stars

  • Indiewire
‘Mifune: The Last Samurai’ Review: A Painfully Safe Documentary About One Of Cinema’s Most Explosive Stars
Over the course of his legendary acting career, Toshiro Mifune was a samurai, a stray dog, and a shoe tycoon. He was a muse for one of the greatest filmmakers of the 20th Century, a beacon for Japanese cinema, and a howling ambassador for the entire country and its culture. He was a feral force of nature who prized combustion over control, a wild gust of wind whose energy only a precious few collaborators knew how to harness. He was even, according to his daughter, almost Obi-Wan Kenobi.

The one thing that Toshiro Mifune wasn’t — wasn’t even capable of being — was boring. At least not on screen. At least not until now.

A thin, dull, and by-the-numbers biography that fails to capture its subject’s irrepressible spirit or properly contextualize his importance, Steven Okazaki’s “Mifune: The Last Samurai” might have made for a solid bonus feature on a Criterion Collection DVD,
See full article at Indiewire »

Joshua Reviews Akira Kurosawa’s Dreams [Criterion Collection Blu-ray Review]

With a career spanning 50 years and over 30 feature films, legendary filmmaker Akira Kurosawa was an auteur all his very own. Best known for samurai epics like Seven Samurai, Kurosawa’s career featured ventures into noir (High and Low), crime drama (Rashomon) and even war epic (Dersu Uzala), but few of his films were as decidedly singular as one of his most grand and deeply personal works.

Entitled Akira Kurosawa’s Dreams (at least how it’s billed on the Criterion Collection website), this sumptuous epic is admittedly an oddity in the Kurosawa canon. Narratively, the film is broken down into eight varied vignettes, all of which drawn directly from actual dreams had by the film’s director. Rooted heavily in Japanese culture and folklore, Dreams takes us from small scale stories like that of a young boy getting caught in the middle of a forest-set fox wedding, to the apocalyptic
See full article at CriterionCast »
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