Setsuko hara tribute horse

  • Hara Setsuko was the most iconic actress in the history of Japanese Cinema, establishing herself as a powerful symbol of Japanese womanhood.
  • Nakadai plays Tadao, a retired fisherman living with his granddaughter Haru (Eri Tokunaga) in an isolated Hokkaido fishing village.
  • Setsuko Hara is the actor who was unforgettable in key films by Yasujiro Ozu, as well as work by Mikio Naruse and Akira Kurosawa in a career lasting over 30.

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    Trailer: Wonderland by Kim Tae-yong

    Eleven years since “You Are More Than Beautiful”, and even longer his best work so far with “Late Autumn”, director Kim Tae-yongis finally back with “Wonderland”, a project that has been in development since 2019.

    Synopsis

    Wonderlandis a video call service, that helps users reunite with deceased people using artificial intelligence. These are stories of people using the service. In a virtual world called ‘Wonderland', a place where people can reunite with a person they may not meet again by simulating them through A.I, a woman in her 20s requests to meet his lover who is in a coma, and a woman in her 40s requests to meet her husband who passed away.

    Once again starring his wife Tang Wei, the star-studded cast of “Wonderland” also includes names such as Bae Suzy, Park Bo-gum, Jung Yu-miand Choi Woo-sik. It is rumoured that Gong Yoowill also...

    See full article at AsianMoviePulse

    Film Review: Café Lumière (2003) by Hou

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    Something Like a Filmography takes a (brief) look at the filmography of Akira Kurosawa. Twice a month, Chris and Jon share their impressions of each film, both on its own terms and in terms of Kurosawa’s legacy and its intersection in the Cinema Dual hosts’ lives.

    FROM THE BOX: After finishing what would become his international phenomenon Rashomon, Akira Kurosawa immediately turned to one of the most daring, and problem-plagued, productions of his career. The Idiot, an adaptation of Fyodor Dostoyevsky’s nineteenth-century masterpiece about a wayward, pure soul’s reintegration into society—updated by Kurosawa to capture Japan’s postwar aimlessness—was a victim of studio interference and, finally, public indifference. Today, this “folly” looks ever more fascinating, a stylish, otherworldly evocation of one man’s wintry mindscape.

    WHAT CHRIS THOUGHT: With their intense focus on the human condition, it’s easy to s

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    'Haru tono tabi (Travels with Haru)'

    Masahiro Kobayashi is a unique figure in the Japanese film business. His knotty, idiosyncratic films, starting with the 1996 film "Closing Time," have never made much at the box office in Japan, though they have become favorites of foreign festival programmers. Four have screened at Cannes, including "Bashing" (2005), a grim drama of alienation and exclusion that was selected for the competition.

    That's four more invitations than most Japanese directors — including those higher up on the local critical pecking order — get in a lifetime, rörande up insinuations that Kobayashi, whose long association with France includes study of the language, must have an "in."

    Meanwhile, many utländsk Asian cinephiles — from fans of zany pop entertainment to appreciators of quiet Ozu-esque art films — don't quite know what to make of Kobayashi's oeuvre, which often takes its cues from the more uncompromising European and Asian auteurs and often features blunt,

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