2 items from 2017
“I make movies that make no sense,” Seijun Suzuki would often say, and he wasn’t being modest. The prolific director, who died earlier this month at the age of 93, was the Jackson Pollock of Japanese cinema, an irrepressibly creative artist who painted with gobs of color and geysers of fake blood in order to defy the strictures of narrative and remind viewers that movies are more than the stories they tell.
His hyper-stylized gangster sagas, which had a way of turning the most basic B-picture plots into unfettered symphonies for the senses, were born out of a rabid intolerance for boredom; audiences never knew what was going to happen next, and sometimes it’s tempting to suspect that Suzuki didn’t either. Few directors ever did more to fundamentally demolish our understanding of what film could be, and even fewer did so while working under the auspices of a major production studio. »
- David Ehrlich
Get in touch to send in cinephile news and discoveriesNEWSSeijun SuzukiThe great Japanese studio rabble rouser Seijun Suzuki, best known for his crazed remixes of pulp genre films in the late 1950s and 1960s (Tokyo Drifter, Branded to Kill) and also for his late career renaissance (Pistol Opera, Princess Raccoon), has died at the age of 92.On the other side of the industry, Time critic and documentary filmmaker Richard Shickel has also passed away.On a more positive note, the second film program for the great Knoxville music festival Big Eats has been announced, and it's a humdinger, ranging from a focus on directors Jonathan Demme and Kevin Jerome Everson to programs of new avant-garde work.Recommended Viewinga researcher in Quebec has identified the only known moving image footage of Marcel Proust, found in a 1904 recording of a wedding.Finally, a view at Terrence Malick's long-in-the-works drama set in the Austin music scene, »
2 items from 2017
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