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Masato Sakai, Teruyuki Kagawa, Ryoko Hirosue Key of Life
Japanese日本映画祭 FilmFestival ADMISSION FREE, NO BOOKINGS – Big Venue 500+ Seats Monday 3 October ~ VENUE: Charles Luney Auditorium, St Margaret’s College Thursday 6 October 2016 12 Winchester Street, Christchurch Presented by Consular Office of Japan, South Island JET-Alumni Association, Monbukagakusho Scholarship-Alumni Association and The Japan Foundation Monday 3rd Oct. 6:30 pm Suitable for Mature Audiences 16 Years and over M Note: Violence Blindly in Love 箱入り息子の恋 Warm-hearted love story! ©2013“Blindly in Love”Film Partners Tuesday 4th Oct. 6:30 pm TBC Being Good きみはいい子 Can Kindness save Someone? ©2015 "Being Good" Film Partners Wednesday 5th Oct. 6:30 pm TBC Sketches of Kaitan City 海炭市叙景 Set in Hakodate! ©2010 Yasushi Sato/"Sketches of Kaitan City" Production Committee Thursday 6th Oct. 6:30 pm TBC Key of Life 鍵泥棒のメソッド Crazy Mix-ups & Suspense! ©2012"Key of Life" Film Partner 日本映画祭 ENQUIRIES: Consular Office of Japan (03) 366 5680 / [email protected] JapaneseFilmFestival facebook.com/JapanConsChristchurch/ ADMISSION FREE, NO BOOKINGS – Big Venue 500+ Seats Monday 3 October ~ Thursday 6 October VENUE: Charles Luney Auditorium 5.45 pm Complimentary tickets available at venue St Margaret’s College, 6.00 pm Short cultural films 12 Winchester Street, Christchurch 6.30 pm Main Feature Classifications to be advised on Facebook In Japanese with English subtitles Monday 3rd October 6:30 pm Blindly in Love 箱入り息子の恋 2013 / 117 minutes / M Kentaro is an introverted 35-year-old whose only interests are his work and his pet frog. He meets Naoko, a beautiful blind woman, but her father is convinced that he is thoroughly unworthy to marry her. -
Main Screen: 1100 Seats (To Run Only 35Mm Film Prints)
Location: Chandan Cinema, Juhu Main Screen: 1100 Seats (to run only 35mm film prints) Show Time 1st Show 2nd Show 3rd Show 4th Show 5th Show Date/Day 10.00 am 12.30 Noon 3.30 pm 5.30 pm 8.00 pm 21-10-.2010 No shows No shows No shows At: 7.00 p.m. Opening Function followed by the Inaugural Film Thursday THE SOCIAL NETWORK Dir.: David Fincher (USA / 2010 /35mm / Col. / 120’) 22-10-2010 10:30 am Inauguration of To start show by 1:30 p.m. POETRY ON THE PATH (NA PUTU) UNITED RED ARMY Friday Japanese Cinema followed by SUBMARINO Dir.: Lee Chang-dong Dir.: Jasmila Zbanic (Bosnia and Dir.: Kôji Wakamatsu ABOUT HER BROTHER (OTÔTO) Dir.: Thomas Vinterberg (South Korea / 2010 / 35mm / Col. / 139’) Herzegovina-Austria-Germany- (Japan / 2007 / 35mm / Col. / 190') Dir.: Yôji Yamada (Denmark-Sweden / 2010 / 35mm / Col. / Croatia / 2010 / 100’) (Japan / 2010 / 35mm / 35mm / 105') 126’) WC WC WC CJC CJC 23-10-2010 HOLD ME TIGHT (HOLD OM UNDERTOW (CONTRACORRIENTE) HONEY (BAL) R SANDCASTLE Saturday MIG) Dir.: Javier Fuentes-León Dir.: Semih Kaplanoglu Dir.: Michael Noer & Tobias Lindholm Dir.: Boo Junfeng Dir.: Kaspar Munk (Peru-Colombia/ 2009 / 35mm / Col. / (Turkey-Germany / 2010 / 35mm / Col. / 103') (Denmark / 2010 / 35mm / Col. / 90’) (Singapore / 2010 / 35mm / Col. / 92') (Denmark / 2010 / 35mm / Col. / 80') 100’) ATC WC WC IC-Presentation IC-Presentation 24-10-2010 ON TOUR (TOURNÉE) BUNRAKU MUNDANE HISTORY OUTRAGE CATERPILLAR Sunday Dir.: Mathieu Amalric Dir.: Guy Moshe Dir.: Anocha Suwichakornpong Dir.: Takeshi Kitano Dir.: Kôji Wakamatsu (France / 2010 / 35mm / Col. -
08B5c9e2872f9584a7a6df3ac68
128 minutes / Color / 2.35 / HD / 5.1 / 2015 SYNOPSIS Mizuki’s husband (Yusuke) drowned at sea three years ago. When he suddenly comes back home, she is not that surprised. Instead, Mizuki is wondering what took him so long. She agrees to let Yusuke take her on a journey. DIRECTOR’S STATEMENT In Japanese, there is a verb for the act of accompanying a dying person, or watching over them until their death. It is called « mitoru ». It remains to be seen if it is possible to translate all the subtleties of this word into a foreign language... Rare are those who have gone through the experience of remaining next to a dying person, delicately taking their hand and feeling a vague mutual intention without ever looking away from their face. Fortunately, I have never been confronted with this myself. But according to those who have, those few days, those few hours spent face-to-face with this person constitute a precious and truly sacred moment of sharing. Inside this moment, the past they have shared, the parts of their respective pasts that the other has never known, but also the future that both will one day experience together – all these moments are evoked, evaluated, and understood. The verb « mitoru » includes this entire process. In reality, this extremely intimate and emotional dialogue takes place at the dying person’s bedside. But in the world of fiction, why not stretch time and space out to however long the process requires, narrating it in the form of a « journey »? This is the audacious premise upon which the original novel Kishibe no tabi was built. -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
The Japan Foundation and Chapter Arts Centre Present
The Japan Foundation Press Release 10-12 Russell Square, London WC1B 5EH Tel: 020 7436 6695 Fax: 020 7323 4888 January 2012 www.jpf.org.uk The Japan Foundation Touring Film Programme 2012 Whose Film Is It Anyway? A Season of Japanese Films by Contemporary Japanese Auteurs 10 February – 28 March 2012 : 7 venues in 7 cities in the UK I Just Didn‟t Do It, Dir Masayuki Suo, Japan, 2007 Following last year‟s successful Back To the Future: Japanese Cinema since the mid-90s season, this year‟s Japan Foundation touring film programme looks at narrative creativity in Japanese cinema, showcasing directors both young and emerging, such as Miwa Nishikawa and Takatsugu Naito, and the more established, such as Masayuki Suo (the director best-known for Shall We Dance). In recent years, Japanese cinema has been dominated by generic spin offs of media such as TV shows and manga, to generate an audience based on a pre-existing market. The nine films that have been chosen for this season however clearly demonstrate in fact the wealth of original writing and creativity evident in recent Japanese cinema. Having successfully forged and retained their own identities within what is one of the largest film markets in the world, these directors reject the “safe” formulaic film model and instead choose to pursue their own methods of expressing themselves through film. Audiences will be able to hear the individual directors‟ voices, whilst also being exposed to characteristics and techniques of some of the best examples of auteur directors from Japan. The film season is produced and organised by The Japan Foundation, and supported by the Great Britain Sasakawa Foundation. -
DP Tokyo Sonata
Dossier de presse trigon-film TOKYO SONATA un film de Kiyoshi Kurosawa (Japon, 2008) DISTRIBUTION trigon-film Limmatauweg 9 5408 Ennetbaden Tél: 056 430 12 30 Fax: 056 430 12 31 [email protected] www.trigon-film.org CONTACT MÉDIAS Régis Nyffeler 077 410 76 08 [email protected] MATÉRIEL PHOTOGRAPHIQUE www.trigon-film.org FICHE TECHNIQUE Réalisation Kiyoshi Kurosawa Scénario Max Mannix, Kiyoshi Kurosawa & Sachiko Tanaka Image Akiko Ashizawa Montage Koichi Takahashi Musique Kazumasa Hashimoto Son Masayuki Iwakura Décors Tomoyuki Maruo & Tomoe Matsumoto Production Django Film, Entertainment Farm Durée 119 minutes Langues Japonais f/a FICHE ARTISTIQUE Ryuhei Sasaki Teruyuki Kagawa Megumi Sasaki Kyoko Koizumi Takashi Sasaki Yu Koyanagi Kenji Sasaki Kai Inowaki Kaneko Haruka Igawa Kurosu Kanji Tsuda Le voleur Koji Yakusho PRIX ET FESTIVALS Prix du Jury, Un certain regard, Cannes Grand Jury Prize, Chicago Film Festival Best Director, Mar del Plata Film Festival Film of the Week, «Time Out London» 2 SYNOPSIS Tokyo Sonata dresse le portrait d'une famille japonaise contemporaine ordinaire. Le père, licencié sans préavis, le cache à sa famille. Le fils aîné est de plus en plus absent. Le plus jeune prend des leçons de piano en secret. Et la mère, impuissante, ne peut que constater qu’une faille invisible est en train de détruire sa famille. 3 BIOGRAPHIE DU RÉALISATEUR Né en 1955 à Kobe, Kiyoshi Kurosawa fait partie des cinéastes phares de la nouvelle génération japonaise. Après des débuts derrière la caméra en réalisant des films en 8mm, parallèlement à ses études de sociologie, il s'illustre rapidement en tournant des «pinku eiga». -
Index to Volume 26 January to December 2016 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background -
THE SUMMIT a Chronicle of Stones
THE SUMMIT A Chronicle of Stones (TSURUGIDAKE: TEN NO KI) A Toei/Fuji TV Production Director: Daisaku Kimura Cast: Tadanobu Asano (“Mongol” “Invisible Waves” “Kabei - Our Mother”) Teruyuki Kagawa (“Tokyo Sonata” “Tokyo!”) Toru Nakamura (“2009 Lost Memories” “Purple Butterfly”) Ryuhei Matsuda (“Gohatto -Taboo-“ “Nightmare Detective”) Aoi Miyazaki (“Atsuhime” (TV) “Nana” “Heavenly Forest”) Koji Yakusho (“Babel” “Silk” “Memoirs of a Geisha”) In 1907, a band of men challenged Japan’s last unconquered mountain, in order to complete a map of their nation. Mt. Tsurugidake - Located in Tateyama mountain range in the Northern Alps in Toyama Prefecture, Mt. Tsurugidake stands 2999m above sea level. Tsurugidake is renowned as a difficult mountain and since the beginning of historical records, it has been designated as the “god” for those engaged in mountain asceticism-shamanism and sometimes referred as “needle mountain” or “mountain of death” for its inaccessibility. Neither for fame, nor for profit, the men staked their lives on an impossible mission, for nothing more than a map. This true story gives us a frank view of the noble spirit of devotion and royal spirit, gradually becoming lost to the society of today. “This work is certainly not a film about the mountains: rather, it is a tale of human emotions and feelings and a film about life, set against the background of the mountains.” -Dir. Daisaku Kimura To realistically depict the noble existence of the climbers, Daisaku Kimura, a veteran cinematographer who filmed “Mount Hakkoda” (1977) “Virus: Day of Resurrection (Fukkatsu no Hi)” (1980) and “Poppoya-Railroad Man” (1999) challenged the shooting together with the hand-picked staff and cast set off like a group of mountaineers to challenge the beautiful yet cruel Mt. -
Yulene Olaizola: «Es Posible Hacer Cine Con Pocos Recursos»
2 / EUSKAL ZINEMAREN EGUNA DÍA DEL CINE VASCO BASQUE CINEMA DAY Zinemaldiaren egunkaria • Osteguna, 2008ko irailaren 25a AMALUR SARIA La guinda la puso Mariví a gala de entrega de los premios Ama Lur, a Mariví Bilbao, e Ibaia, a Néstor Basterretxea, Fernando Larruquert y Andoni Esparza, precisamente como artífices del filme Ama Lur, fue ayer la guinda de Lun intenso Día del Cine Vasco. Mariví Bilbao recogió de manos de Mikel Olaciregui el galardón que el conjunto de agentes del sector otorgan anualmente como reconocimiento a una trayectoria de cine. Con su habitual desparpajo, la homenajeada agradeció el galardón, “lo más fantástico que tenemos en esta tierra”,y tuvo palabras especialmente cariñosas hacia Basterretxea y Larruquert, “por haber sido quienes pusieron en marcha todo esto hace ya tanto tiempo, tanto que incluso yo era entonces joven”,bromeó. Se emocionó e incluso habló de su marido fallecido. “No lo maté yo”, creyó conveniente aclarar. Los artífices del filme Ama Lur, que acaba de cumplir cuarenta años, recibieron el galardón de manos de José Portela, director de la asociación de productores Ibaia. Basterretxea recordó que “la sorpresa y el enfado del Ministerio de Información y Turismo franquista al ver la película nos dio la medida del acierto de aquel empeño. Hicimos lo que pudimos y conseguimos dar noticia de que el pueblo vasco seguía vivo y en pie”.Larruquert, por su parte, se mostró muy crítico con “la cultura oficial”,a la que consideró “más preocupada por el cemento que por el patrimonio común”.Hizo un llamamiento a los creadores del sector audiovisual: “Os pido que soñéis en aumentar la sensibilidad de este pueblo”.En nombre de Andoni Mariví Bilbao “encantada de la vida”,flanqueada por los presentadores de la gala, Gorka Otxoa e Idoia Esparza, uno de los hombres que organizó la recogida de Merodio, y el director del Zinemaldia, Mikel Olaciregui. -
Avance De Programacin
JAPONIA BELTZEAN CHUJI TABI NIKKI / A DIARY OF CHUJI’S TRAVELS , Daisuke Ito ( Japonia, 1927 ) OATSURAE JIROKICHI GOSHI / JIROKICHI THE RAT , Daisuke Ito ( Japonia, 1931 ) KEISATSUKAN / A POLICE OFFICER , Tomu Uchida ( Japonia, 1933 ) HIJOSEN NO ONNA / DRAGNET GIRL , Yasujiro Ozu ( Japonia, 1933 ) NORA INU / STRAY DOG , Akira Kurosawa ( Japonia, 1949 ) KYATSU O NIGASU NA / I SAW THE KILLER , Hideo Suzuki ( Japonia, 1956 ) HARIKOMI / STAKE OUT , Yoshitaro Nomura ( Japonia, 1958 ) HATESHINAKI YOKUBO / ENDLESS DESIRE , Shohei Imamura ( Japonia, 1958 ) KARAKKAZE YARÔ / AFRAID TO DIE , Yasuzo Masumura ( Japonia, 1960 ) TAIYO NO HAKABA / THE SUN’S BURIAL , Nagisa Oshima ( Japonia, 1960 ) ANKOKUGAI NO TAIKETSU / THE LAST GUNFIGHT , Kihachi Okamoto ( Japonia, 1960 ) HAKUCHUU NO BURAIKAN / GREED IN BROAD DAYLIGHT , Kinji Fukasaku ( Japonia, 1961 ) BUTA TO GUNKAN / PIGS AND BATTLESHIPS , Shohei Imamura ( Japonia, 1961 ) ZERO NO SHOTEN / ZERO FOCUS , Yoshitaro Nomura ( Japonia, 1961 ) TENGOKU TO JIGOKU / HIGH AND LOW , Akira Kurosawa ( Japonia, 1963 ) JINSEI GEKIJO - HISHAKAKU / THEATER OF LIFE: HISHAKAKU , Tadashi Sawashima ( Japonia, 1963 ) YAJU NO SEISHUN / YOUTH OF THE BEAST , Seijun Suzuki ( Japonia, 1963 ) KAWAITA HANA / PALE FLOWER , Masahiro Shinoda ( Japonia, 1964 ) ABASHIRI BANGAICHI / ABASHIRI PRISON , Teruo Ishii ( Japonia, 1965 ) SHOWA ZANKYODEN / BRUTAL TALES OF CHIVALRY , Kiyoshi Saeki ( Japonia, 1965 ) 893 GURENTAI / THE 893 GANG , Sadao Nakajima ( Japonia, 1966 ) KORUTO WA ORE NO PASUPOTO / A COLT IS MY PASSPORT , Takashi Nomura -
Japan Booth : Palais 01 - Booth 23.01 INTRODUCTION Japan Booth Is Organized by JETRO / UNIJAPAN with the Support from Agency for Cultural Affairs (Goverment of Japan)
JA P A N BOOTH 2 O 1 6 i n C A N N E S M a y 1 1 - 2 O, 2 O 1 6 Japan Booth : Palais 01 - Booth 23.01 INTRODUCTION Japan Booth is Organized by JETRO / UNIJAPAN with the support from Agency for Cultural Affairs (Goverment of Japan). JETRO, or the Japan External Trade Organization, is a government-related organization that works to promote mutual trade and investment between Japan and the rest of the world. Originally established in 1958 to promote Japanese exports abroad, JETRO’s core focus in the 21st century has shifted toward promoting foreign direct investment into Japan and helping small to medium-sized Japanese firms maximize their global business potential. UNIJAPAN is a non-profit organization established in 1957 by the Japanese film industry under the auspice of the Government of Japan for the purpose of promoting Japanese cinema abroad. Initially named “Association for the Diffusion of Japanese Film Abroad” (UniJapan Film), in 2005 it joined hands with the organizer of Tokyo International Film Festival (TIFF), to form a combined, new organization. CONTENTS 1 Asmik Ace, Inc. 2 augment5 Inc. 3 CREi Inc. 4 Digital Frontier, Inc. 5 Gold View Co., Ltd 6 Hakuhodo DY music & pictures Inc. (former SHOWGATE Inc.) 7 nondelaico 8 Open Sesame Co., Ltd. 9 POLYGONMAGIC Inc. 10 Production I.G 1 1 SDP, Inc. 12 STUDIO4˚C Co., Ltd. 13 STUDIO WAVE INC. 14 TOHOKUSHINSHA FILM CORPORATION 15 Tokyo New Cinema, Inc. 16 TSUBURAYA PRODUCTIONS CO., LTD. 17 Village INC. CATEGORY …Action …Drama …Comedy …Horror / Suspense …Documentary …Animation …Other SCREENING SCHEDULE Title Day / Starting Time / Length of the Film / Place Asmik Ace, Inc. -
Annual Report Japan Society Board of Directors
333 EAST 47TH STREET |NEW YORK, NY 10017 |JAPANSOCIETY.ORG Annual Report 2016—2017 Japan Society Board of Directors Paul S. Amos II Merit E. Janow Fumio Otani Chris Wachenheim President Dean, School of International and Chairman & CEO Co-President Aflac Public Affairs Toshiba America, Inc. Greenhaven Associates, Inc. Professor of Professional Practice , Stanley M. Bergman International Economic Law & Joseph R. Perella* Takashi Yatsunami Chairman & CEO International Affairs Chairman, Japan Society President & CEO Henry Schein, Inc. Columbia University Founding Partner and Chairman Nippon Steel & Sumitomo Metal U.S.A., Perella Weinberg Partners Inc. Jonathan E. Colby* Robert A. Karr Managing Director Principal Douglas L. Peterson Tomofumi Yoshida PHOTO CREDITS: The Carlyle Group Joho Capital, LLC President & CEO President & CEO S&P Global ITOCHU International Inc. Cover: Hosoda Eisui (active 1790-1823), Wakashu with a Shoulder Gerald L. Curtis Frederick H. Katayama Drum (detail), late 18th-early 19th century. Color woodblock Burgess Professor of Political Science Anchor Punit Renjen print, ROM, Sir Edmund Walker Collection, 926.18.701. Courtesy Columbia University Thomson Reuters Chief Executive Officer SECRETARY of the Royal Ontario Museum, © ROM. From the exhibition A Deloitte Touche Tohmatsu Limited Susan J. Onuma Third Gender: Beautiful Youths in Japanese Prints . Ariel J. Deckelbaum Nobuyuki Kawabata Partner Justin A. Rockefeller Partner Executive Managing Director & CEO, Ingram Yuzek Gainen Carroll & Page 3: Clockwise from top left—Reception for “Gifu: The Paul, Weiss, Rifkind, Wharton & Americas Division Addepar.com Bertolotti, LLP Heartland of Japan” © Daphne Youree • Shodo student © Daphne Garrison LLP Sumitomo Mitsui Banking Corporation Rockefeller Brothers Fund Youree • Audience at “Mind of the Mangaka: Yusei Matsui” © The ImPact George Hirose • A Third Gender: Beautiful Youths in Japanese Richard A.