I tell Monica she would be fired from filming a Bourne movie because her cinematography is too shaky. Shin Saburi, Find out about international touring programmes, BFI Film Academy: opportunities for young creatives, Get funding to progress my creative career, Search the BFI National Archive collections, Read research data and market intelligence, Search for projects funded by National Lottery, Apply for British certification and tax relief, Get help as a new filmmaker and find out about NETWORK, Find out about booking film programmes internationally. He did see large numbers of Japanese films after joining Shochiku in order to study his seniors’ techniques and famously said, “I formulated my own directing style in my own head, proceeding without any unnecessary imitation of others…for me there was no such thing as a teacher. Hasumi wrote that Ozu chose a persistent approach towards film and its limits, liberating himself from the ambiguity of outlines, dampness and shadows. Strictly Film School There’s a dramatic minimalism too, with the stories relayed objectively through no single character perspective, and key plot points such as courtships and marriages often omitted entirely. 72 min

A widow sends her only son away to receive a better education. ), Ozu’s films represent a lifelong study of the Japanese family and the changes that a family unit experiences. | 2011 Yasujirô Ozu's Bakushû: The Remake of Early Summer (Short) (grateful acknowledgment) 2008 Mujo no kaze: The wind of impermanence (Short) (thanks) 1999 Le fabuleux voyage de l'Oncle Ernest (Video Game) (thanks) 1987 Wings of Desire (dedicatee - as Yasujiro) 1985 Mia toso makryni apousia (dedicated to) Hide. It’s an exquisite and perfect piece of work, and deserves every inch of its towering reputation. I saw six movies this past weekend and it was exhilarating.

Yasujiro Ozu:Tokyo Story A brief appreciation by Derek Malcolm of this classic film.

Chieko Murata,

It also got me thinking about how unimaginably different the experience of finding movies to watch is now from what it was then. For the uninitiated, Ozu had a thirty-five year career, staring with his silent debut in 1927, to his death in 1963, and he scarcely made a bad film. Obviously, many of you are geographically unable to do that, but to us, it served as a reminder that we’ve never written a feature specifically built around Ozu’s work, and that seemed like an omission that needed rectifying immediately. |

Floating Weeds (1959) 5. Neither wants to leave the other to marry or remarry, and one of them eventually does. From Behind the Camera Yasujirō Ozu (小津 安二郎, Ozu Yasujirō, 12 December 1903 – 12 December 1963) was a Japanese film director and screenwriter. d. December 12, 1963, Tokyo, Japan, filmography The story unfolds in smoky billiards halls, boxing gyms and jazz clubs, each of the various locales adorned with candlestick telephones, gramophones, advertising posters, cocktail shakers and soda syphons, demonstrating Ozu’s fastidious approach to his arrangements within the frame. Friends came to visit him and stayed for extended drinking sessions for months on end. Kinuyo Tanaka plays an office girl who keeps bad company but is soon to be sidelined due to her gang-boss boyfriend’s soft spot for the sister of a rookie boxer he is managing. A report from the 2014 Seattle International Film Festival.

I saw all of them at home, on the same 55" screen -- three on Comcast On Demand (two of those in HD widescreen, one in SD widescreen) and three on DVDs (all at 1.33:1) from my own library (in other words, not rentals, Netflix or otherwise). Stars: Hideo Fujino,

Setsuko Hara, He believed that the character of Japanese culture encompassed the capacity to experience the objective world in a direct and unmediated fashion, to understand sympathetically the objects and the natural world around one without resorting to language or other mediators. It’s a film that makes a fine argument that every great director should revisit one of their masterpieces years down the line.

Chishû Ryû, It is not limited to reflection on death but touches all aspects of life and nature: a pure, emotional response to the beauty of nature, the impermanence of life, and the sorrow of death.

A gangster tries to find redemption with the inadvertent help of an innocent shop girl and his jealous girlfriend will do anything to keep him.

94 min It’s a riff on the same sorts of themes as the earlier films in the trilogy (and in much of Ozu’s work); of old age, the responsibility of children towards their parents, the gulf that can exist between the generations, the loss that comes with change. Despite the film’s overriding cheery tone, the cutaway ‘pillow shots’ of smoking factory chimneys, television aerials on high-rise roofs and piles of stacked up oil drums in rundown neglected backstreets suggest a director fully aware that his own era was coming to an end. Setsuko Hara,

There are many Ozu films I have not seen (all of them silent) because I've not been able to find them or simply haven't gotten around to them.

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