From a futuristic existential animation about androids to a culturally rich documentary delving into the art of ramen-making, the Japanese Film Festival: Online returns from 14-27 February 2022 with a free streamed Festival featuring the best in Japanese cinema.
The 2022 Festival presented by The Japan Foundation, Sydney will screen 17 films nation-wide for free, including feature films and documentaries. Jff Online 2022 marks the second time The Japan Foundation, Sydney will screen the festival across Australia to enjoy online.
Japanese Film Festival Director, Yurika Sugie said:
“Jff Online invites Australian audiences to celebrate the richness of Japanese cinema from the comfort of their own homes, with an eclectic virtual program traversing the hottest new international film festival award-winners, past Jff favourites and cult hits.”
Japanese Film Festival Programmer, Susan Bui said:
“Enjoy cutting-edge titles from Japan’s finest auteurs in tandem with Japanophiles from 25 countries world-wide as part of this exciting global initiative.
The 2022 Festival presented by The Japan Foundation, Sydney will screen 17 films nation-wide for free, including feature films and documentaries. Jff Online 2022 marks the second time The Japan Foundation, Sydney will screen the festival across Australia to enjoy online.
Japanese Film Festival Director, Yurika Sugie said:
“Jff Online invites Australian audiences to celebrate the richness of Japanese cinema from the comfort of their own homes, with an eclectic virtual program traversing the hottest new international film festival award-winners, past Jff favourites and cult hits.”
Japanese Film Festival Programmer, Susan Bui said:
“Enjoy cutting-edge titles from Japan’s finest auteurs in tandem with Japanophiles from 25 countries world-wide as part of this exciting global initiative.
- 2/9/2022
- by Adriana Rosati
- AsianMoviePulse
Based on the popular character developed by Soji Yamakawa, a highly popular writer of picture stories, a number of which focused on Africa (“Young Boy King” and “Tiger Boy”) who also appears in the beginning and ending of the film, “Kenya Boy” made its first appearance as a daily newspaper comic strip in 1951, and spawned a significant franchise, first as a radio drama, then a live action movie, then a TV drama series. Eventually, it was also released as anime in 1984 by Toei, but with Haruki Kadokawa being essentially in charge of the production, and the one who decided to hire Nobuhiko Obayashi to direct, despite the fact that the filmmaker had no experience with animation, and in general, was mostly known for his unusual cinematic style and extreme ideas. The result is expectedly bizarre.
The story begins in 1941 and takes place in British-colonized Nairobi, where the...
The story begins in 1941 and takes place in British-colonized Nairobi, where the...
- 9/8/2021
- by Panos Kotzathanasis
- AsianMoviePulse
There’s nothing I love more than a film about food. I love almost everything about them. The mouth-watering shots. The ever-present nostalgia. The way they so easily lend themselves to philosophical ideas. It’s almost always a joy, even when the movie itself is mediocre. So, when I read the premise of Haruki Kadokawa final feature, “Mio’s Cookbook”, I had high hopes. A food film/period drama by a legendary producer and highly respected veteran director? On paper, it’s a perfect hybrid. Perhaps due to the fact that it was Kadokawa’s first big directorial effort since 1990 (“Heaven and Hell”), but against all odds, though, this adaptation of the popular series of novels by Kaoru Takada failed to stir the same feelings in me that so many other food films I’ve seen, and after an overlong runtime of two hours, whimpers its way to an unimpactful stop.
- 6/12/2021
- by Luke Georgiades
- AsianMoviePulse
Let me start with a personal note. I have been reading, writing, watching and obsessing with Asian cinema for about 15 years now and in that time frame, Mark Schilling has always set the bar for me regarding writing about Japanese cinema through his reviews, interviews, feature articles and books. His style of writing is easy to read, to the point, without the complexities of academic texts or the unnecessary literary elements that so frequently torment contemporary reviews, and always very informative, highlighting the knowledge he has accumulated over decades of dealing with Japanese cinema. In that regard, it was a true pleasure to get the opportunity to read and review a book that collects some of his best writings of the last two decades (more than 60 interviews and hundreds of reviews).
The most obvious asset of the book is that, at 482 pages and in a rather large format,...
The most obvious asset of the book is that, at 482 pages and in a rather large format,...
- 5/1/2020
- by Panos Kotzathanasis
- AsianMoviePulse
Born in 1938 in Onomichi, a port town facing Japan’s Inland Sea, Nobuhiko Obayashi began making experimental films in the 1960s and showing them at galleries and other sites around Tokyo. With lines forming around the block for these films, which captured the free-spirited, anything-goes mood of the times, Obayashi branched out into TV commercials. His ads featuring Charles Bronson, Kirk Douglas, Catherine Deneuve and other international stars had a freshness of style and humor that won him new fans.
In 1977 Obayashi made his feature debut with “House,” a horror-fantasy about a haunted house that devours its schoolgirl visitors. Critically pummeled on its release, this wildly imaginative and irresistibly charming film later became an international cult hit.
Obayashi went on to direct more fantasy-themed films featuring cute teens, including “School in the Crosshairs” (1982), “Transfer Student” (1982) and “The Little Girl Who Conquered Time” (1983). His main producer in this period was Haruki Kadokawa,...
In 1977 Obayashi made his feature debut with “House,” a horror-fantasy about a haunted house that devours its schoolgirl visitors. Critically pummeled on its release, this wildly imaginative and irresistibly charming film later became an international cult hit.
Obayashi went on to direct more fantasy-themed films featuring cute teens, including “School in the Crosshairs” (1982), “Transfer Student” (1982) and “The Little Girl Who Conquered Time” (1983). His main producer in this period was Haruki Kadokawa,...
- 10/27/2019
- by Mark Schilling
- Variety Film + TV
Once known for its popular gang and other action films that had legions of mostly male fans, Toei today has a diverse line-up in a variety of genres. To this edition of Tiffcom the company has brought several new titles, including “Mio’s Recipe for You” a drama about a young female chef in the feudal era, who is determined to fuse the cuisines of Kyoto and Edo (the old name for Tokyo). The director is Haruki Kadokawa, a hit-making veteran producer and director going back to the 1970s.
Also new is “Machi no Ueda,” the latest film by Rikiya Imaizumi, a director who has acquired a cult following for movies about the romantic tribulations of the urban young. His hero is a young man working at a second-hand clothing stores in Shimokitazawa, a trendy Tokyo suburb, when his humdrum existence is upset by the offer of a film role...
Also new is “Machi no Ueda,” the latest film by Rikiya Imaizumi, a director who has acquired a cult following for movies about the romantic tribulations of the urban young. His hero is a young man working at a second-hand clothing stores in Shimokitazawa, a trendy Tokyo suburb, when his humdrum existence is upset by the offer of a film role...
- 10/24/2019
- by Mark Schilling
- Variety Film + TV
The name Haruki Kadokawa may be new to you, but in the Japanese film industry it is the name of a controversial giant. Kadokawa, the rapscallion heir to publishing house Kadokawa Shoten, came onto the film scene in the late 1970s, revitalizing a struggling industry and box office with his "media-mix" wave of pop idol infused blockbusters and more experimental genre works that forever changed the country's pop culture landscape. To celebrate the production company's 40th anniversary, our good friends at Japan Society in New York City are presenting "Pop! Goes Cinema", a 6-film mini retrospective of some of the wildest, weirdest and, in the case of not being available in the West, rarest films that the K-kind ever put forth. Starting November 8th with...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 11/3/2016
- Screen Anarchy
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