![]() Oh, well, igraće barem novi Kurosawa.ĭakle, dok ne pogledam bar najveće prioritete sa ove liste, evo šta su saradnici odličnog sajta o azijskom filmu, Midnight Eye ( ), odabrali kao svoje favorite iz 2008-me: Sa srpskim, naravno, većinu ovoga nećemo gledati jer se na FEST-u u programu FANT-AZIJA prikazuje isključivo neke retardirane socijalne drame i budalaštine. The buzz around the Cannes Film Festival was that this should have at the very least been in the main competition, but even in the Un Certain Regard sidebar it garnered the plaudits it deserved - the best of Kurosawa quite simply means the best in world cinema today. The first time I saw this I had trouble leaving the theater because my legs were shaking. Yet, somehow, it passed completely beneath the radar - not unlike the latest films by two other former festival favorites, Naomi Kawase and Hirokazu Koreeda.Īll Around Us (Gururi no Koto, dir: Ryosuke Hashiguchi)Ĭoming seven years after the excellent and widely screened Hush!, the superb All Around Us should have drowned in festival invitations. While I haven't seen the latter two and so can't comment on them, the obscurity in which Hashiguchi's powerful tragicomedy languished is completely undeserved. A Woman Who Is Beating the Earth (Daichi o Tataku Onna, dir: Tsuki Inoue) An unfortunate side effect of a confused market, or an indication that Japan is no longer a top priority among festival programmers? 3. The decision to give this 20-minute film the Grand Prize at the Yubari International Fantastic Film Festival was quick and unanimous. Nightmare Detective 2 (Akumu Tantei 2, dir: Shinya Tsukamoto) Inoue proves that she is more than ready to graduate to the big leagues. It seems that those who liked the first entry didn't care for this and vice versa. With a great economy of means and a solid dramatic backbone, Tsukamoto creates scares that resonate emotionally, because monsters, victims and hero are all sad and vulnerable people. Ain't No Tomorrows (Oretachi ni Asu wa Naissu, dir: Yuki Tanada) Hanae Kan (from Pistol Opera and Nobody Knows) is a standout as an all too human sort of Sadako (with short hair!). Tanada's feature debut Moon and Cherry ranks among my favourite Japanese films of the 21st century. Her first two follow-ups Hatsuko's World (Akai Bunkajutaku no Hatsuko) and One Million Yen Girl (Hyakuman-en to Nigamushi Onna) were solid enough placeholders, while the Mika Ninagawa-directed Sakuran was bolstered by Tanada's screenplay. ![]()
0 Comments
Leave a Reply. |