Cinémathèque Annotations on Film
Towards a Japanese Anthropology: Shohei Imamura’s Profound Desire of the Gods
“For me, the idea for the film lies in its attitude to human beings. In my case, this attitude is one of obsession…. In my
Kokoro
Sensei (Masayuki Mori) is first seen standing in a doorway, looking down at his wife as she sits embroidering (1). Shizu (Michiyo Aratama) has opened
No Fear, No Die
One never forgets Bresson. Admiration is a very complicated thing. It’s like alchemy; you admire something and then one day you realise that this admiration
Kanto Wanderer
Undoubtedly one of the best of the Japanese B-stylists, the critical discussion surrounding Seijun Suzuki tends to focus on his notorious dismissal from Nikkatsu studios
Doomed Love
Between November and December 1978, Portuguese public television presented, in six weekly episodes, the original television version of Manoel de Oliveira’s Amor de Perdição (Doomed
The Pleasure of the Image – The Flowers and the Angry Waves
“The world changes all the time. We can no longer win by force alone.” - Akira Kobayashi in The Flowers and the Angry Waves In
White Material
One could say that sound has always featured as an important element in the work of Claire Denis. Her 1999 Beau travail is a choreographed
Peppermint Candy
Lee Chang-dong is the cinema’s great poet of disappointment. His films are preoccupied by the ways in which the mores of contemporary South Korean society
The Intruder
In an interview following the Toronto Film Festival screening of L’intrus (The Intruder, 2004), Claire Denis remarked that her films are sometimes unbalanced: “They have
The Burmese Harp
“Can’t you see that whatever you do is futile? The armies of Britain and Japan can come and fight all they wish. Burma is still