Director Masaharu Take answers questions about his two films that came from Fuminori Nakamura’s novel The Gun.
Not even half a loaf of the great films of 2020. Arguably not even the heel of the loaf.
Michael Myers and Mary Poppins returned, entertainment famine and brain cell death in the wake of the Infinity War despite record breaking war bonds sold, and the caps lock was turned on when writing on the whiteboard. Let’s all be frank about the good movies from 2018.
A24 batted a thousand, but Neon is hot on their heels. Also: Edgar Wright rights his past wrongs with substance and superhero movies finally become good thanks to Amazonian golden bondage play. For All the Daddy's Love in the World.
Tom Mes' overview of Meiko Kaji's career is more than an overblown Arrow Video booklet even if it doesn't spend very much time in her post-Snowblood career.
The director of Bad Rap discusses documentary film making and the concerns of modern entertainers.
CDFF returns for its second year, providing aid to the drought conditions for Asian film in the Denver area.
Japanese director Ryuhei Kitamura has made two English language B-movies to date, both showing an A-level craft and will certainly become eventual cult classics.
When writing about directors or actors, it's best to make sure you have chosen the right picture. For example: when writing about Marilyn Monroe, use image of Audrey Hepburn and vice versa.
Huayi Brothers give another reason why we should keep an eye on them as they continue to make their mark in Hollywood.
Olive Films adds another sub-label to its belt: Oribu Anime, dedicated to releasing boundary pushing animated works from around the world.
The return of films with life lessons, both constructive and destructive. Watch, take notes, recreate in personal life, then repeat.
Jack Virnich writes on the pairing of manga-ka centric film Bakuman and a collection of experimental animated short films presented by Japan Cuts.
Uzumasa Limelight director Ken Ochiai gives his thoughts on the Japanese film industry, what draws him to a project, and also recommends some jidai-geki films.
Both films, in their own ways, showcase the struggle against the plastic people and forewarn viewers how they too can defend themselves in case of emergency.
The recent program of five films presented by the Alamo Drathouse Littleton presents a narrative about the great filmmaker that sadly does not do justice to the man.
An overview of two contemporary Japanese filmmakers producing different and original work.
Contains 13 films. Full data to be released in 2076.