The prison guards working in penitentiaries where death row inmates are locked Read More »
Tag Archives: Hidetoshi Nishijima
Last Scene (2002) Hideo Nakata, Hidetoshi Nishijima, Yumi Asô, Kumiko Asô
Last Scene is an unusual yet personal foray into drama for horror mastermind Hideo Nakata. Read More »
Drive My Car / Doraibu mai kâ (2021) Ryûsuke Hamaguchi, Hidetoshi Nishijima, Tôko Miura, Reika Kirishima
Adapted from a short story in Murakami Haruki’s “Men Without Women”. Read More »
Loft AKA Rofuto (2005) Kiyoshi Kurosawa, Miki Nakatani, Etsushi Toyokawa, Hidetoshi Nishijima
Reiko, a prize-winning writer, moves to a quiet isolated house to finish up her new novel. Read More »
License to Live AKA Ningen gôkaku (1998) Kiyoshi Kurosawa, Hidetoshi Nishijima, Shun Sugata, Lily
Yutaka was fourteen years old when he was run over by a car and fell into a coma. Read More »
2/Duo (1997) Nobuhiro Suwa, Eri Yu, Miyuki Yamamoto, Hidetoshi Nishijima
Yu, an employee at a clothing boutique, lives with Kei, an out-of-work actor who lives off of her. Read More »
Kanikôsen (2009) SABU, Ryûhei Matsuda, Hidetoshi Nishijima, Kengo Kôra
On board at the boat Kanikosen, where fish and crabs preserves, forced workers to work under miserable conditions, with minimum wages. Read More »
While the Women Are Sleeping (2016) Wayne Wang, Takeshi Kitano, Hidetoshi Nishijima, Sayuri Oyamada
Seduction, betrayal, murder, insomnia and apparitions are the elements at play in Wayne Wang’s tense and masterful version Read More »
Fish on Land (2011) Yûsuke Iseya, Hidetoshi Nishijima, Mirai Moriyama, Nae, Drama
A college senior (Mirai Moriyama) takes a bicycle trip for his last summer vacation. On his trip he comes across drive-in “HOUSE475” and its manager Seii (Hidetoshi Nishijima). Read More »
Self and Others (2001) Makoto Satô, Shigeo Gocho, Hidetoshi Nishijima, Documentary
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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