#Ishibashi Renji

[haveyouseenthismovie-poll]

[closetofcuriosities]

Tetsuo: The Iron Man - 1989 - Dir. Shinya Tsukamoto

[shihlun]

Kōji Wakamatsu

- Ready to Shoot

1990

[angelstills]

オーディション / Audition (1999)

[cultfaction]

Tetsuo: The Iron Man (1989)

Directed by Shinya Tsukamoto and released in 1989, Tetsuo: The Iron Man is a Japanese cyberpunk body horror film that has left an indelible mark on the genre. With its surreal and nightmarish visuals, the film delivers a disturbing and unconventional narrative that explores the fusion of man and machine. It stars Tsukamoto, Tomorowo Taguchi, Kei Fujiwara, Nobu Kanaoka, Naomasa Musaka, and Renji…

[genkinahito]

An Interview with Junji Sakamoto, Director of Okiku and the World せかいのおきく  [New York Asian Film Festival 2023]

Taken from: https://www.nyaff.org/nyaff23/films/okiku-and-the-world Sustainable development meets youth love story in Edo era Japan as a manure man (Kanichiro) and a samurai’s daughter (Haru Kuroki) attempt to breach caste boundaries and realise their love just as the nation opens up to the outside world. Okiku and the World is the latest work from veteran director Junji Sakamoto. An unexpected…

[crazyasianlove]

Watashi no Shiawase na Kekkon (Sub. Esp)

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Título: Watashi no Shiawase na Kekkon (Mi Feliz Matrimonio) País: Japón Duración: 114 min. Género: romance, fantasía, drama Fecha de estreno: 17 de marzo, 2023 Dirección: Tsukahara Ayuko Guion: Kanno Tomoe

SINOPSIS

Saimori Miyo era la desafortunada hija de un matrimonio arreglado y sin amor. Tras la muerte de su madre, su padre se casó con su amante y tuvieron una hija, Kaya. A partir de entonces, la vida de Miyo quedó reducida a la de una simple sirvienta. Peor aún, mientras Kaya heredó las habilidades psíquicas de la familia, Miyo no tenía ninguna. Era realmente una hija sin ningún mérito.

Después de años siendo tratada como basura, Miyo ha aprendido a mantener la cabeza gacha, ocultar su dolor y obedecer todas las órdenes. Por lo tanto, no sorprende que esté dispuesta a casarse con Kudou Kiyoka, un capitán militar del que se rumorea que es tan cruel que ha ahuyentado a todas sus posibles esposas hasta ahora.

Desde su dolorosa educación hasta un matrimonio doloroso, ese es el futuro que le espera a Miyo, o eso pensaba. Contrariamente a sus expectativas, su nuevo marido tiene realmente un buen corazón. ¡Lo que realmente le espera a Miyo es un matrimonio feliz, eterno y lleno de felicidad!

CAST

Meguro Ren como Kudou Kiyoka Imada Mio como Saimori Miyo Watanabe Keisuke como Tsuruki Arata Onishi Ryusei como Takaihito Maeda Oshiro como Godou Yoshito Takaishi Akari como Saimori Kaya Ogoe Yuki como Tatsuishi Koji Sato Arata como Mochizuki Toya Yamamoto Mirai como Yurie Yamaguchi Sayaka como Saimori Kanoko Kobayashi Ryoko como Hana Tsuchiya Tao como Usuba Sumi Takahashi Tsutomu como Saimori Shinichi Tsuda Kenjiro como Kamomura Norio Onoe Ukon II como Kururuki Tadanori Nishigaki Sho como Okabe Shuta Hirayama Yusuke como Tatsuishi Minoru Ishibashi Renji como el emperador

Traducción jp-esp: saya13

[byneddiedingo]

Hitomi Kuroki in Sada (Nobuhiko Obayashi, 1998)

Cast: Hitomi Kuroki, surutarô Kataoka, Norihei Miki, Kippei Shîna, Toshie Negishi, Bengal, Renji Ishibashi, Kyûsaku Shimada. Screenplay: Yuko Nishizawa. Cinematography: Noritaka Sakamoto. Production design: Kôichi Takeuchi. Film editing: Nobuhiko Obayashi. Music: Sotaro Manabu.

Having seen House (Nobuhiko Obayashi, 1977) and In the Realm of the Senses (Nagisa Oshima, 1976), I had to see what the director of the former -- a brightly colored, over-the-top horror film, set to a bubble-gum pop soundtrack, about a gaggle of Japanese schoolgirls who find themselves in a haunted house and proceed to die in various colorful and inventive ways -- would do with the latter -- a sexually explicit account, with full nudity and unsimulated copulation, of the crime of Sada Abe, who in 1936 killed her lover, Kichizo Ishido, carved their names on his body, and cut off his genitals, carrying them around with her until she was arrested. The story of Sada has been the subject of numerous books and at least five movies in Japan, after her trial -- which resulted in five years in prison -- set off a nationwide sensation, turning her into a kind of folk hero. The result is a curiously show-offy film that Obayashi fills with all manner of tricks: switches from color to black-and-white, characters breaking the fourth wall, eccentric cuts and startling shifts of tone, and deliberate violations of cinematic convention. In one scene, Sada (Hitomi Kuroki) and her lover, whose name has been changed to Tatsuzo (Tsurutaro Kataoka) in the film, are walking along the street together. The camera follows Tatsuzo from right to left as he speaks, then cuts to Sada as she replies. Film convention calls for a shot followed by a reverse shot, in which we see first Tatsuzo and then Sada from different angles. Instead, Obayashi cuts to Sada, filmed from the same angle and still traveling from right to left, as if she has somehow physically replaced Tatsuzo. This and similar impossible cuts and angles in the film are probably meant to suggest Sada's identification with her lover. Tone shifts mark the film from the beginning: It opens with 14-year-old Sada's rape by a teenage boy, a harrowing scene that is nevertheless somehow played as if it were comic, just as later Sada's work as a prostitute shifts into comic mode with speeded-up action and cuts to a voyeur watching from his hiding place, and a fight with Tatsuzo's wife becomes almost slapstick. Obayashi seems determined to avoid anything that smacks of melodrama or sentimentality. but not always successfully. The screenplay, by Yuko Nishizawa, tries to add depth to Sada's story by inventing a young medical student, Okada (Kippei Shina), who tends to her after her rape. He becomes a symbol of Sada's loss of anything but physical love when he is forced to part from her: He gives her his scalpel and has her mime cutting out his heart and taking it with her -- an obvious foreshadowing of her actual use of the scalpel on Tatsuzo. Sada spends much of the film hoping to be reunited with Okada, only to find that he has leprosy and has been sent to an island on the Inland Sea for quarantine. The film ends with a shot of an elderly woman looking out across the sea to the island. In contrast to Oshima's In the Realm of the Senses, Obayashi's film avoids nudity, but this only serves to add another layer of distance between the viewer and Sada. Kuroki, a beautiful young actress, does what she can with the role, but the constant camera tricks and the limitations imposed by the script never let us get more than a superficial glimpse of what drove Sada Abe to act as she did.

[iconnoteven]

Odds and ends from Kamen Rider Decade 📸

[may8chan]

The Blood of Wolves - Kazuya Shiraishi 2018

[muskming]

あらかじめ失われた恋人たちよ / Lost Lovers

1971 Japanese film directed by 清水邦夫 Kunio Shimizu & 田原総一朗 Sôichirô Tahara

[anamon-book]

魔性の夏 四谷怪談・より 松竹株式会社 事業部 原作＝鶴屋南北、監督＝蜷川幸雄、出演＝萩原健一・関根恵子・夏目雅子・石橋蓮司 ほか

[closetofcuriosities]

Audition - 1999 - Dir. Takashi Miike

[dare-g]

Lost Lovers (1971)

[gregor-samsung]

紙の月 [Pale Moon] (Daihachi Yoshida - 2014)

[ozu-teapot]

Audition | Takashi Miike | 1999