#Japanese film festival

[tiiramisu-cake]

they sold out monster 😭😭😭😭 I've been waiting for this Japanese film festival for so fucking long you mfs sold it out in minutes i hate it here

[travelblog]

Japanese Film Festival Online 2024: Now Showing!

Film June 4 - June 18 / TV Drama June 18 - July 2

Admission: FREE

[c-schroed]

Let's talk about Hayato Ichihara's marvellous acting in the hilarious School Meals Time Graduation movie:

He masters the stuck-up posture:

He is a genius of the silly little dances:

To me, this is the best physical acting since fucking Buster Keaton!

But most importantly, he can eat like he fucking means it:

I desire this man carnally.

TL;DR: Go watch School Meals Time Graduation! It's currently free of charge as a part of the Japaneye Film Festival Online, along with 22 other Japanese movies:

[jrbustamante]

Let's Volt In this February with JFF 2024's Nostalgic films like Voltes V and Slam Dunk

Hello there, you may want to indulge in Nostalgic Japanese films this February. Lucky for all, it's free admission but first come, first serve. So plan ahead, arrive early to get seats.

[soyasojourns]

「映画祭」 - My Eigasai experience through the years

It has been a while since I last saw a film that I truly enjoyed. I recently watched a selection from an ongoing online screening in Eigasai, the Japanese Film Festival. I am amazed at how Eigasai has transformed since I first learned about it as a university freshman years ago. It has expanded in terms of movie selection, now including independent films in recent years, to complement the standard selection of contemporary films. There is an increase in the number of films screened and the number of screenings - apart from Metro Manila screenings, select provincial screenings are now made possible. Most importantly, the platform for access - an online platform for streaming was created to watch the films for a limited time. As I have moved to a place where I currently have no access to provincial screenings, I have greatly benefited from this online platform. But truth be told, I'd still prefer a theater screening over an online one.

I dug up my memory to recall the films I watched through the years, from 2007 until the present year, 2023.

I've completed a total of 17 films, including one film from the Haruki Murakami Festival in 2018, originally screened in an earlier line-up. I noticed that I also missed the film festival in several years (2009, 2016, 2019, and 2021-2022).

Most of the time, I watched the films alone but there were several occasions when there were opportunities to ask friends to come with me.

Eigasai usually coincided with the Philippines-Japan Friendship Month in July, with screenings running from July to August. In 2007, my roommate's high school friends from UP Rural High introduced me to Eigasai. Since they knew I was interested in Japan and Japanese culture, they invited me to watch Shimotsuma Monogatari (Kamikaze Girls) with them. The movie screened at 7PM and was estimated to end near 9PM, the time of our dormitory's curfew. As soon as the credits rolled at the end, we rushed out of Cine Adarna and ran back towards our dormitory. We were huffing, puffing, and sweating when we arrived at our dorm's lobby, glad we made it on time. Shimotsuma Monogatari is a brilliant and amusing coming-of-age movie. I was 17 at that time, the same age as the protagonists in the film. It just felt right to watch it at that time.

I first watched an Eigasai film at an Edsa Shangrila screening in 2010. The festival opening and first screenings were usually scheduled in this venue before going to other theaters. I had a Japan Studies class then wherein we were tasked to write a reaction paper about any film from the Eigasai line-up. What fit my schedule at that time was the screening of Houtai Club (Bandage Club). To this date, I think this is my favorite movie about friendship, connection, vulnerability, strength, and courage - perfect for the dynamic emotional shifts and changes experienced by adolescents.

Two very memorable films for me wherein I remember having shed a lot of tears were Okuribito (Departures) and Itai: Asu e no Tōkakan (Reunion) which I watched in 2011 and 2014 respectively. After watching these movies, I am reminded of the strength of the human spirit, resiliency, and to remain dignified in times of great distress, especially when things are beyond our control.

In 2017, I visited my second hometown, Iloilo City. Coincidentally, during my visit, there was an Eigasai screening in Cinematheque Iloilo. What matched my schedule was If Cats Disappeared from the World which was dubbed in Tagalog. Watching the film without my eyes chasing English subtitles at the bottom of the screen felt good.

The most recent film I watched was Hottamaru Byori (Hottamaru Days), a Japanese independent film, screened under JFF+ or simply Japan Film Festival Plus - the film programming for independent films, hosted by several small theaters across Japan.

Hottamaru Days was a very refreshing film. I love the attention to detail – the shots, use of light, sound, and dance. I like how the dancing nymphs emulate the mundaneness of everyday life in their own fun and playful way. The film was intriguing and at the same time, interesting. I love the film's combination of wander, wonder, playfulness, and otherworldliness. I look forward to more works of Director Nao Yoshigai (and other female Directors) as well as more uniquely visually visceral films in future line-ups.

Watch Hottamaru Days here for free. You just need to register for an account and you can watch the currently screening six (6) independent films until March 2023. After which a new set of films will be programmed.

In-theater screenings have started and the schedule and line-up can be viewed here.

[heystella]

Perfect Days (2023)

[psykopaths]

Lost Paradise (1997)

[ladamarossa]

Door (1988)

[undinecissy]

Found an old Japanese film magazine (published in 1990) introducing James Ivory and Ken Russell's films, with a photo of Maurice crew at the 44th Venice Film Festival and a photo of Maurice rowing on the Cambridge campus.

[the-celluloid-correspondent]

Shōgun: A Historical Masterpiece.

Set in Japan in the year 1600, Lord Yoshii Toranaga is fighting for his life as his enemies on the Council of Regents unite against him, when a mysterious European ship is found marooned in a nearby fishing village.

Based upon the acclaimed novel, Shōgun is a historical retelling of Lord Tokugawa Ieyasu's (Yoshi Toranaga) establishing the Tokugawa Shōgunate in early 17th Century Japan from the point of view of an English Pilot named, William Adams (John Blackthorn)Premiering on the small screen in 1980, the series received mass critical acclaim and earned an Emmy for Outstanding Limited Series. Four decades later, it returns, breathing new life into the television with its unparalleled storytelling. Breaking away from the mediocrity that often plagues the streaming industry, Shōgun stands as a monumental historical epic of a real-life struggle over the throne for Japan. 

Shōgun unfolds like a meticulously played game of Shogi, where every move, character, and line of dialogue is infused with purpose and significance. This captivating narrative takes viewers on a journey through a power struggle that shapes feudal Japan, weaving together political intrigue and human drama in a rich tapestry of storytelling. From the intricacies of Japanese society to the cunning maneuvers of rival warlords, Shōgun immerses audiences in a world where every scene serves a distinct purpose. Each twist and turn of the plot is carefully crafted, drawing viewers deeper into the heart of the conflict and revealing the complex web of alliances and betrayals that define the era. The dialogue and monologues in Shōgun are masterfully written, brimming with both context and subtext that add layers of depth to the narrative. Like beautiful lines of poetry, they flow seamlessly together, driving the story forward with precision and purpose. At its core, Shōgun captures the essence of one of the most pivotal moments in Japanese history, offering a compelling exploration of power, ambition, and the human spirit. As viewers are drawn into this world of political conspiracy and personal sacrifice, they are treated to a mesmerizing blend of drama, suspense, and historical authenticity that commands the screen from start to finish. 

Shōgun derives its true essence from its characters, each intricately woven with layers of complexity and depth, enriching the overarching drama. Among them, Cosmo Jarvis's portrayal of John Blackthorn emerges as a standout performance, deftly navigating the challenges of embodying a character whose natural loudness and clumsiness contrast sharply with the subtleties of his Japanese counterparts. While some may initially interpret Blackthorn's demeanor as a flaw in the performance, Jarvis's deliberate portrayal serves a greater purpose—to underscore the cultural abyss between him and the people of Japan. Through his portrayal, Jarvis adeptly captures the profound culture shock experienced by his character, allowing viewers to witness a compelling transformation from a brash and ambitious Englishman to a man deeply immersed in Japanese customs. It is in these quieter moments that Jarvis truly shines, infusing his character with depth and nuance.

Similarly, Anna Sawai's portrayal of Toda Mariko exemplifies the art of subtle acting. With a mere glance, Sawai effortlessly conveys a myriad of emotions, her thousand-yard stare speaking volumes about her character's inner turmoil and quiet resilience. Her performance is a testament to the power of restraint, as she deftly navigates Mariko's journey of suffering and hope, her emotions simmering beneath the surface until they erupt with raw intensity. Even in moments of despair, Sawai's portrayal radiates a glimmer of hope, underscoring the resilience of the human spirit.

The ensemble cast of "Shōgun" shines brilliantly, each member delivering performances that leave a lasting impact. From the charismatically charming yet brutal portrayal of Tadanobu Asano as Yabushige to the scheming and cunning rendition of Fumi Nikaido as Ruri, every actor breathes life into their character with skill and precision. Moeka Hoshi's portrayal of the broken yet resilient Fuji, and Takehiro Hira's power-hungry depiction of Ishido, further solidify the ensemble's strength, while Tokuma Nishioka's powerful and wise portrayal of Hiromatsu adds depth to the narrative.

However, it is Hiroyuki Sanada's performance as Yoshii Toranaga that truly stands out, marking a triumphant moment in his career. Despite being typecast and overlooked by Hollywood for years, Sanada seizes the opportunity to showcase his talents as both an actor and a producer in Shōgun. In his portrayal of the powerful and intimidating Toranaga, Sanada commands the screen with a commanding presence, embodying his character's intellect, ambition, and prowess with aplomb. What sets Sanada's performance apart is his ability to infuse Toranaga with an unpredictable nature, keeping viewers on the edge of their seats as they anticipate his next move. With each moment on screen, Sanada captivates audiences with his depth and nuance, delivering what can only be described as his finest performance to date. Finally given a role where he can truly shine, Sanada proves himself to be a force to be reckoned with, cementing his status as one of the industry's most talented actors.

Every aspect of this series is a visual feast. The cinematography is nothing short of breathtaking, capturing the stunning landscapes and rich cultural tapestry of Feudal Japan with remarkable skill. From the intricate costumes to the meticulously crafted production design, every detail is thoughtfully considered, drawing viewers deeper into the immersive world of Shōgun.

But Shōgun is more than just television—it's an immersive journey into one of the most pivotal moments in Japanese history. With its masterful storytelling and captivating characters, the series transcends the screen, offering viewers a profound exploration of the human experience against the backdrop of historical upheaval. In a landscape dominated by formulaic narratives, Shōgun stands as a shining example of the power of the historical epic, reminding us of the importance of stories that not only entertain but also enlighten and inspire.

My Rating: A

[pinceauarcenciel]

Screaming this is the first time I'm seeing an actual and well portrayed AroAce character in a movie where it's also the main topic ?!! (as a warning this also include the usual aroacephobia bullshit, But: ) The story is so well written and fulfilling! Heck yeah some good rep for us!

And you can watch it for free —if you're in one of the 27 countries that allows it— until June 19th and it has subtitles in many languages uwu

[davetada]

DJ at a food festival

Shibuya, Tokyo, Japan

[chernobog13]

The original 6 Ultra Brothers lend some street credit to newcomers Ginga and Victory at the opening red carpet for the 2014 Tokyo International Film Festival.

Am I the only one who notices that - despite being told they are part of the Ultra Brothers - Leo and 80 never seem to be invited to these things?

[the-nihongo-adventure]

🎥🇯🇵FREE ONLINE MOVIE SCREENINGS BY THE JAPAN FOUNDATION

Hello everyone!! The Japan Foundation is currently holding a special program called JFF+ Independent Cinema, which will stream 12 films from independent theaters across Japan, all free of charge. More details of the program can be found here.

The movies can be accessed via this link.

Here is a summary of the program details:

Source

[shihlun]

"The Excitement of the Do-Re-Mi-Fa Girl" , first screened at the 1985 Pia Film Festival. From left to right: Yoriko Doguchi, Juzo Itami and director Kiyoshi Kurosawa.

[heystella]

Evil Does Not Exist (2023)