Japanese actor Koji Yakusho, winner of Cannes’ best actor prize this year for his universally acclaimed performance in Wim Wenders’ Perfect Days, has been selected 2023 Taipei Golden Horse Film Festival’s filmmaker in focus.
Yakusho will attend the Taiwanese festival in person and present a selection of seven of his films during the event’s 17-day duration. The titles shown will include Perfect Days and the erotic classic Lost Paradise (1997), as well as five titles selected by Yakusho himself, including Kamikaze Taxi (1995), Shall We Dance (1996), Cure (1997), Eureka (2000) and The Woodsman and the Rain (2011).
“With these seven films, cinephiles will be able to witness the charm and versatile acting of a legendary actor,” Taipei’s organizers said in a statement.
Across his four-decade career, Yakusho has been nominated for the Japan Academy of Film Prize 23 times, including seven consecutive nominations in the best leading actor category, which he has won three times,...
Yakusho will attend the Taiwanese festival in person and present a selection of seven of his films during the event’s 17-day duration. The titles shown will include Perfect Days and the erotic classic Lost Paradise (1997), as well as five titles selected by Yakusho himself, including Kamikaze Taxi (1995), Shall We Dance (1996), Cure (1997), Eureka (2000) and The Woodsman and the Rain (2011).
“With these seven films, cinephiles will be able to witness the charm and versatile acting of a legendary actor,” Taipei’s organizers said in a statement.
Across his four-decade career, Yakusho has been nominated for the Japan Academy of Film Prize 23 times, including seven consecutive nominations in the best leading actor category, which he has won three times,...
- 9/12/2023
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
Title: Tokyo Fiancée (Tokio Fiancée) First Run Features Director: Stefan Liberski Writers: Stefan Liberski, Amélie Nothomb Cast: Pauline Etienne, Taichi Inoue, Julie LeBreton Running time: 100 minutes Rated: Unrated (nudity, sexuality) Language: French and Japanese (English subtitles) Special Features: None Amélie (Pauline Etienne, Lost Paradise) is a 20-year-old Belgian Japanophile living in Japan. She was born in Japan, but moved back to Belgium when she was five years old. Obsessed with living in the land of her birth, she wants to become a Japanese writer, not a French writer living in Japan. Trying to make some money, she puts an ad out as a French tutor and only one response comes from [ Read More ]
The post Tokyo Fiancee Movie Review appeared first on Shockya.com.
The post Tokyo Fiancee Movie Review appeared first on Shockya.com.
- 12/18/2015
- by juliana
- ShockYa
Qin Hailu and Wang Qianyuan amongst new cast members.
Beijing Galloping Horse has announced four additions to the cast of John Woo’s The Crossing, including award-winning Chinese actress Qin Hailu and actor Wang Qianyuan.
Qin and Wang both previously starred in Chinese drama The Piano In A Factory. Qin’s credits also include Fruit Chan’s Durian Durian, for which she won best actress and newcomer at the Golden Horse Awards. Wang won best actor at the Tokyo International Film Festival for Piano.
Also joining the cast of Woo’s $40m two-part epic are veteran actress Feihong Yu (The Joy Luck Club) and Japanese actress Hitomi Kuroki (Paradise Lost).
Currently in production, The Crossing follows the journey of three doomed couples travelling from mainland China to Taiwan in 1949. The ensemble cast also includes Zhang Ziyi, Takeshi Kaneshiro, Song Hye-kyo, Huang Xiaoming, Tong Dawei and Japan’s Masami Nagasawa.
Bgh is producing with Woo and Terence Chang’s [link...
Beijing Galloping Horse has announced four additions to the cast of John Woo’s The Crossing, including award-winning Chinese actress Qin Hailu and actor Wang Qianyuan.
Qin and Wang both previously starred in Chinese drama The Piano In A Factory. Qin’s credits also include Fruit Chan’s Durian Durian, for which she won best actress and newcomer at the Golden Horse Awards. Wang won best actor at the Tokyo International Film Festival for Piano.
Also joining the cast of Woo’s $40m two-part epic are veteran actress Feihong Yu (The Joy Luck Club) and Japanese actress Hitomi Kuroki (Paradise Lost).
Currently in production, The Crossing follows the journey of three doomed couples travelling from mainland China to Taiwan in 1949. The ensemble cast also includes Zhang Ziyi, Takeshi Kaneshiro, Song Hye-kyo, Huang Xiaoming, Tong Dawei and Japan’s Masami Nagasawa.
Bgh is producing with Woo and Terence Chang’s [link...
- 9/30/2013
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
Behold the courage of Portuguese filmmaker Miguel Gomes: hoping to do a film in the vein of “Meet Me In St. Louis,” he and a crew traveled to the small Arganil Municipality in the country to begin work on a movie featuring a small family band -- that is until the movie’s investor died before signing on the dotted line. Instead of calling it a day, Gomes pressed on and made “Our Beloved Month of August,” a doc/fiction hybrid that captured the essence of the lively environment while commenting on the fragility and banality of a film production. It’s a special, beautiful beast of a movie that unfortunately didn’t see much of a release. Luckily, Gomes has quickly followed up with the brilliant “Tabu” (which we gave an A-grade review to out of Tiff). Beginning with a rather conventional opening chapter titled 'Lost Paradise,...
- 12/26/2012
- by Christopher Bell
- The Playlist
Behold the courage of Portuguese filmmaker Miguel Gomes: hoping to do a film in the vein of “Meet Me In St. Louis,” he and and a crew traveled to the small Arganil Municipality in the country to begin work on a movie featuring a small family band -- that is until the movie’s investor died before signing the dotted line. Instead of calling it a day, Gomes pressed on and made “Our Beloved Month of August,” a doc/fiction hybrid that captured the essence of the lively environment while commenting on the fragility and banality of a film production. It’s a special, beautiful beast of a movie that unfortunately didn’t see much of a release. Luckily, Gomes has quickly followed up with the brilliant “Tabu” (which we gave an A-grade review to out of Tiff). Beginning with a rather conventional opening chapter titled 'Lost Paradise,...
- 10/18/2012
- by Christopher Bell
- The Playlist
A head-scratchingly lyrical immersion into colonialist metaphor and historical memory, Portuguese director Miguel Gomes' third feature "Tabu" reaches for the dreamlike experiences of Apichatpong Weerasethakul's oeuvre with a bold structure that defies genre specifics. At the same time, for all its confusing and erratic qualities, Gomes ("Our Beloved Month of August") has made a decisively cinematic work, tapping into classic film traditions while subverting them with consistent narrative invention. Not to be confused with the F.W. Murnau movie of the same name, "Tabu" nonetheless borrows the expressionistic style of the earlier film's period, using luxurious black-and-white photography to alternately drain the life out of a boring world and transcend it with the magic realism of the alternate reality that eventually takes over. Gomes breaks his movie into two very different parts: The first, entitled "A Lost Paradise," serves...
- 2/15/2012
- Indiewire
Opening with a bit of a historic snooze fest yet also offering greatness… While costumes and pictures of opening film Les Adieux à la Reine (Farewell My Queen) by Benoït Jacquot were absolutely stunning the story itself was more on the boring side. The film focuses on Léa Seydoux as Sidonie Laborde, Queen Marie Antoinette’s (Diane Krüger) reader, during the days of the French Revolution. The director however is clearly more interested in his female protagonists’ shapes and an overall composed aesthetic than in actually constructing an engaging story; when the camera isn’t busy resting on mademoiselle Sydoux well-shaped breasts there is a lot of slow rushing through Versailles and very little story development going on. In a way it feels like everyone’s hurrying to get off the Titanic, except Versaille is a much more impressive set.
Frédéric Videau’s A Moi Seule (Coming Home) – also in...
Frédéric Videau’s A Moi Seule (Coming Home) – also in...
- 2/11/2012
- by Merle Fischer
- SoundOnSight
"Yoshimitsu Morita, whose films depicted the absurdity and vulnerability of everyday life in conformist Japan, has died," reports Yuri Kagayama for the AP. "He was 61." His breakthrough came with The Family Game (1983), winner of five Kinema Junpo Awards — Best Film, Director, Screenplay, Actor (Yusaku Matsuda) and Supporting Actor (Jûzô Itami) — in which Matsuda plays "an offbeat tutor who forms a heartwarming relationship with a young man in a stereotypical middle-class family."
"Though even its most perceptive commentators reduce Kazoku geimu (Family Game) to a critique of 'affluent, middle-class nuclear family life in the city and nose-to-the-grindstone education systems' [Keiko McDonald in 1989], Morita's most widely known film is before all else hilarious," wrote Bob Davis in Senses of Cinema in 2006. "Its laughs derive from inappropriate and idiosyncratic behavior, unseemly frankness, slapstick antics, gross-out tactics, repetitions, exaggerations, explosive contrasts, and unnatural pacing." In Davis's "brazen 'ranking' of Morita's films, Family Game, Deaths in Tokimeki, Sorekara [And Then], Keiho,...
"Though even its most perceptive commentators reduce Kazoku geimu (Family Game) to a critique of 'affluent, middle-class nuclear family life in the city and nose-to-the-grindstone education systems' [Keiko McDonald in 1989], Morita's most widely known film is before all else hilarious," wrote Bob Davis in Senses of Cinema in 2006. "Its laughs derive from inappropriate and idiosyncratic behavior, unseemly frankness, slapstick antics, gross-out tactics, repetitions, exaggerations, explosive contrasts, and unnatural pacing." In Davis's "brazen 'ranking' of Morita's films, Family Game, Deaths in Tokimeki, Sorekara [And Then], Keiho,...
- 12/23/2011
- MUBI
Tokyo — Director Yoshimitsu Morita, whose films depicted the absurdity and vulnerability of everyday life in conformist Japan, has died. He was 61.
Morita, who won international acclaim over his prolific 30-year career, died Tuesday of acute liver failure at a Tokyo hospital, said Yoko Ota, spokeswoman at Toei Co., the film company behind his latest work.
Morita's movies were distinctly Japanese, depicting the fragile beauty of the nation's human psyche and visual landscape while daringly poking fun at its ridiculous tendency for rigid bureaucracy and ritualistic hierarchy.
Morita made a splash among global film buffs with 1983's "Family Game," starring Yusaku Matsuda of "Black Rain" as an offbeat tutor who forms a heartwarming relationship with a young man in a stereotypical middle-class family.
Its striking cinematography, focusing on rows and rows of identical apartments and people dining solemnly sitting side by side, was an exhilarating parody of Japanese family values.
His...
Morita, who won international acclaim over his prolific 30-year career, died Tuesday of acute liver failure at a Tokyo hospital, said Yoko Ota, spokeswoman at Toei Co., the film company behind his latest work.
Morita's movies were distinctly Japanese, depicting the fragile beauty of the nation's human psyche and visual landscape while daringly poking fun at its ridiculous tendency for rigid bureaucracy and ritualistic hierarchy.
Morita made a splash among global film buffs with 1983's "Family Game," starring Yusaku Matsuda of "Black Rain" as an offbeat tutor who forms a heartwarming relationship with a young man in a stereotypical middle-class family.
Its striking cinematography, focusing on rows and rows of identical apartments and people dining solemnly sitting side by side, was an exhilarating parody of Japanese family values.
His...
- 12/21/2011
- by AP
- Huffington Post
Welcome back for another edition of News Bits. What is it you ask? The film world can get quite overwhelming at times in the news that releases. Unfortunately some of this news is just too small to warrant a full article. Rather than deprive you of the news, we've created this section. This week in news bits we’ve got posters, trailers, release dates, and more!
* Marvel has confirmed that a script for a Doctor Strange movie has been turned in and that they are currently mulling over a short list of directors for the project (though they gave no names). Looks like this is closer and closer to finally happening.
* Speaking of Marvel, they've now released a short clip of their first short film (which will be on the Thor blu-ray) called The Consultant. This is the first in a series of short films, called One-Shots, that will focus...
* Marvel has confirmed that a script for a Doctor Strange movie has been turned in and that they are currently mulling over a short list of directors for the project (though they gave no names). Looks like this is closer and closer to finally happening.
* Speaking of Marvel, they've now released a short clip of their first short film (which will be on the Thor blu-ray) called The Consultant. This is the first in a series of short films, called One-Shots, that will focus...
- 8/4/2011
- Cinelinx
[This review initially appeared when the film screened at Germany's Nippon Connection and with the film appearing this weekend at the Shinsedai Festival in Toronto we present it again now.]
When I think of concert films I tend to think of them as static. Even if the filmmaker is following a band on tour things tend to progress from one stage show to the next. If the music is great then it can be electrifying, but concert films still present a real challenge to a director. How can people playing music on stage carry an entire feature film? Some have found that magic formula, namely my favorites like Chris Blum's film of Tom Waits's 1988 American tour "Big Time", Laurie Anderson's groundbreaking "Home of the Brave" and that little piece of Toronto punk rock history "The Last Pogo" shot at the city's Horseshoe Tavern. I was lucky enough to recently add to my list of favorite concert films when I got a chance to see Tetsuaki Matsue's "Live Tape", the winner of the top prize in the...
When I think of concert films I tend to think of them as static. Even if the filmmaker is following a band on tour things tend to progress from one stage show to the next. If the music is great then it can be electrifying, but concert films still present a real challenge to a director. How can people playing music on stage carry an entire feature film? Some have found that magic formula, namely my favorites like Chris Blum's film of Tom Waits's 1988 American tour "Big Time", Laurie Anderson's groundbreaking "Home of the Brave" and that little piece of Toronto punk rock history "The Last Pogo" shot at the city's Horseshoe Tavern. I was lucky enough to recently add to my list of favorite concert films when I got a chance to see Tetsuaki Matsue's "Live Tape", the winner of the top prize in the...
- 7/21/2010
- Screen Anarchy
[Our thanks go out to Chris MaGee and Marc Saint-Cyr at the Toronto J-Film Pow-Wow for sharing their coverage of the 2010 Nippon Connection Film Festival.]
When I think of concert films I tend to think of them as static. Even if the filmmaker is following a band on tour things tend to progress from one stage show to the next. If the music is great then it can be electrifying, but concert films still present a real challenge to a director. How can people playing music on stage carry an entire feature film? Some have found that magic formula, namely my favorites like Chris Blum's film of Tom Waits's 1988 American tour "Big Time", Laurie Anderson's groundbreaking "Home of the Brave" and that little piece of Toronto punk rock history "The Last Pogo" shot at the city's Horseshoe Tavern. I was lucky enough to recently add to my list of favorite concert films when I got a chance to see Tetsuaki Matsue's "Live Tape", the winner of the top prize in the...
When I think of concert films I tend to think of them as static. Even if the filmmaker is following a band on tour things tend to progress from one stage show to the next. If the music is great then it can be electrifying, but concert films still present a real challenge to a director. How can people playing music on stage carry an entire feature film? Some have found that magic formula, namely my favorites like Chris Blum's film of Tom Waits's 1988 American tour "Big Time", Laurie Anderson's groundbreaking "Home of the Brave" and that little piece of Toronto punk rock history "The Last Pogo" shot at the city's Horseshoe Tavern. I was lucky enough to recently add to my list of favorite concert films when I got a chance to see Tetsuaki Matsue's "Live Tape", the winner of the top prize in the...
- 4/15/2010
- Screen Anarchy
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