Tag Archives: Makoto Satô

The Falcon Fighters / Rikugun hayabusa sentotai (1969) Mitsuo Murayama, Makoto Satô, Shiho Fujimura, Sei Hiraizumi, Drama, War

rikugun-hayabusa-sentotai-aka-the-falcon-fighters-1969
In the days leading up to the Second Sino-Japanese War of 1937, head flight instructor Kato Tateo of the Imperial Japanese Army-Air Corps trains new crop of volunteers from the Amry’s Infantry to become Japan’s next generation of fighter pilots. Flying early biplane’s, Kato will train both friend and future foe alike. But as war in China breaks out, Kato (played by Makoto Sato) will take his untested men flying antiquated planes into aerial combat against the Chinese Air Force who is now headed by Lt. Cho (played by Jun Fujimaki) who Kato had both earlier befriended and personally trained.
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Fort Graveyard / Chi to suna (1965) Kihachi Okamoto, Toshirô Mifune, Makoto Satô, Reiko Dan, Drama, War

fort-graveyard-1965
Charged with insubordination for punching a superior, Sergeant Kosugi is shipped to China in the last desperate days of the Second World War. His commander, Captain Sakuma, is vicious and dictatorial. Sakuma places Kosugi in charge of training for combat what once was the military band. Kosugi must somehow prepare his inept soldiers for the rigors of combat.
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Self and Others (2001) Makoto Satô, Shigeo Gocho, Hidetoshi Nishijima, Documentary

Self and Others (2001)
In 1983, photographer Gocho Shigeo met an early death at the young age of 36. The view we see reflected in Gocho’s photographic images has become more profound over time since his death and has struck a chord in people’s hearts. While focusing on Gocho’s collection of photographs Self and Others, the film also visits places associated with him, creating a collage with the manuscripts, letters, photographs and voice recordings remaining in an attempt to capture “one more gesture”—a theme pursued by Gocho through photographic expression. This film is neither a critical biography nor a monograph on the photographer. Rather, we are offered a new perception. As if mesmerized, the photographs Gocho left behind captivate us in their gaze.
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