Showing posts with label Noboru Iguchi. Show all posts
Showing posts with label Noboru Iguchi. Show all posts

Thursday, July 1, 2010

JAPAN CUTS Launch!

From Confessions

JAPAN CUTS is upon us! Tonight's opening screenings are the North American premiere of Sawako Decides [review] at 6:45 followed by the SOLD OUT screening of Confessions (here's a review if you don't already have a ticket).

The screenings are followed by an informal get-together, with beer and various refreshments available. If you have tickets, be prepared to provide each other emotional and psychological support after the darkly intense Confessions.

There are many other special screenings and events at JAPAN CUTS this year:

• Director Toshiyaki Toyoda holds film intros and Q&As for his films Hanging Garden and Blood of Rebirth.

• Masanori Mimoto, the main actor of Alien vs. Ninja attends the July 3 screening as a guest of NYAFF and will take part in a Q&A.

• Director Isao Yukisada and actor Tatsuya Fujiwara are on hand for the July 10 screening of Parade, and the director will also be there for screenings of his other film, Crying Out Love, in the Center of the World.

From Parade
• Two of the three auteurs behind Mutant Girls Squad, Yoshihiro Nishimura and Noboru Iguchi, hold a Q&A after the screening.

• Here representing Oh, My Buddha! are director Tomorowo Taguchi and actor (and singer) Daichi Watanabe.

• The closing film of the festival, Sweet Little Lies, has a Q&A with its director Hitoshi Yazaki.

And let’s not forget to mention the parties! In addition to the Launch Party on opening night, there’s the Sushi Typhoon Party on Saturday July 3 following Mutant Girls Squad. Come dressed as an alien, ninja or mutant girl, and help celebrate the launch of the Sushi Typhoon DVD label! On Saturday, July 10, there’s the Night of the Filmmakers Party following Oh, My Buddha! Keeping with the 1970s setting and laid-back hippie vibe of that film, Night of the Filmmakers will be a throwback to the time period.

From Bare Essence of Life (Ultra Miracle Love Story)
Although we at the Japan Society strive to provide you with a hearty smorgasbord for this year’s JAPAN CUTS, there really was a huge variety to choose from. Perhaps one reason for this is how the film business is works in Japan.

The Japanese film industry is structured pretty differently from Hollywood. In Hollywood, film productions – even "independent" ones sometimes – are overseen by major studios that provide the vast majority of the funding. In Japan, most major studios (Kadokawa, Toei, Nikkatsu) have less capital to invest in film productions, and therefore funding is often procured from other sources. Smaller, or boutique, film production companies, television stations, publishers, or corporations, from Japan or elsewhere (South Korea and France are two big examples) all invest in various Japanese films. This means that filmmakers can often have more creative leeway to make the films they want how they want.

Regardless of how the film business works in Japan, we’re just glad to have so much cool stuff to show you. Tickets are zooming off the virtual shelves, so take some time and reserve yours!

N.O.

Thursday, May 6, 2010

The Poles of Japanese Film

One thing I love about Japanese film is that it can be classic, elegant, and dignified or it can be garish, spastic, and barely clinging to any semblance of sanity.

This month we're bringing you both ends of the spectrum!

© Kadokawa Pictures, Inc.
First, on May 14th we're giving you the epitome of the matatabi (samurai gambler) movie: Lone Wolf Isazo, one of Raizo Ichikawa’s most spectacular performances.

Employing flashbacks within flashbacks and a brooding romantic style poised somewhere between Budd Boetticher and early Sergio Leone, director Kazuo Ikehiro charts Isazo’s descent from chivalrous naïf to vengeance-obsessed cynical wanderer, giving a definitive chronicle of the loneliness of the long-distance wanderer.

© Kadokawa Pictures, Inc.
Immediately after Lone Wolf Isazo, we're showing The Devil's Temple.

In this little known Kenji Misumi masterpiece, an abandoned temple nestled in the mountains is the scene of a fateful encounter between a Buddhist monk, two women in love with the same man, and a fallen samurai (Shintaro Katsu, at his most ferocious). As destinies collide: it appears that not just the lives of the quartet are at stake, but their very souls. Hell awaits!

Both films are the finale of the our Monthly Classic Series, The Double Edged Sword: The Chambara Films of Shintaro Katsu & Raizo Ichikawa.

© RoboGeisha Film Partners 2009
Then, on May 18th we're throwing RoboGeisha at you!

From the demented imagination of director Noboru Iguchi (Machine Girl) and special effects savant Yoshihiro Nishimura (Tokyo Gore Police) comes this brain-blasting vision of the future of genre cinema which defies description, sanity and good taste.

The evil, Tea Party-esque Kageno Corporation wants to return Japan to more traditional values and the weapons in their arsenal include their massive Geisha Army, two supernatural bikini-clad assassins and a plan to detonate a nuclear device on Mt. Fuji. But that's not enough! They're so evil that they also recruit two sisters and turn them into....RoboGeisha! However, RoboGeisha have uncontrollable hearts and it's not long before one of them begins to wonder if there's more to life than being a kimono-clad, robotic killing machine.

The screen swarms with nutso concepts like acid breast milk, butt swords and fried shrimp weapons while peekaboo sexiness and goofy ultra-violence are the order of the day. One part Japanese schoolgirl melodrama, one part grindhouse swordplay, one part open-plains chambara and one part Daimajin-esque, city-stomping "suitmation," RoboGeisha might just be the one cult movie to rule them all.

Might want to get your tickets for this one online before the crowds snatch up all the seats!