Set in a rural village in the Shinshu region, this melodrama about lovers of different social classes spans two generations: that of a mother, and her son. Read More »
Tag Archives: Keiko Kishi
It’s a man’s world. Shimamura, an artist, comes to this snowbound town to rejuvenate himself. Read More »
Private detective Kindaichi investigates a series of murders in scenic rural Japan. Read More »
Among the first Japanese films to deal directly with the scars of World War II Read More »
Onna no sono / The Garden of Women (1954) Keisuke Kinoshita, Mieko Takamine, Hideko Takamine, Keiko Kishi, Drama
A student at a woman’s university takes a controversial action against the school’s old-fashioned doctrines. Read More »
Koto is a 1980 film directed by Kon Ichikawa starring Momoe Yamaguchi and Tomokazu Miura in an adaptation of Yasunari Kawabata’s story The Old Capital. Read More »
Set in 1926 when Japanese tradition was much stronger, this standard drama looks at the inner workings of a small family, especially the relationship between a sister and brother.
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During a long train ride heading north of Japan, a young man addresses an older woman in front of him. At first she doesn’t respond, but he finally gets her into a conversation when he offers her lunch. Thus begins Saito Koichi’s famous romantic thriller, Le Rendezvous. The woman turns out to be a murderer on parole, whist the man a runaway accused of assault and robbery. As it happens, the two soon fall in love. The woman asks the man to wait two years until she is released from jail. And he agress.
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In the story, an industrialist learns of a medical condition which will greatly shorten his life. Read More »
Kuroi jûnin no onna / Ten Women in Black (1961) Kon Ichikawa, Fujiko Yamamoto, Keiko Kishi, Tamao Nakamura, Drama
Weary of their lot, ten women – all mistresses of the same philandering businessman – join forces to wreak revenge upon him. A comedy of reversed expectations, gleefully upending traditional onscreen representations of gender (the women here act and talk like men, while the men are weak, confused or ineffectual), it’s shot in an exaggerated noir-ish manner – complete with multiple flashbacks and highly stylised visuals – that serves highlight the artificiality of its conceit.
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