Dersu Uzala (1975)
11:30 – Olympic Box Set
28:30 – Contest Results
38:00 – November Predictions
49:00 – Limite
1:01:00 – Short Takes (Dersu Uzala, The Breaking Point)
1:15:30 – FilmStruck
Episode Links Dave’s Criterion Video 100 Years of Criterion Films Kino Lorber and Eureka Entertainment Acquire 4K Restoration of King Hu’s Legend of the Mountain, Announce Blu-ray Releases All of the Films Joining FilmStruck in August Episode Credits Aaron West: Twitter | Website | Letterboxd Matthew Gasteier: Twitter | Letterboxd Criterion Now: Facebook Group Criterion Cast: Facebook | Twitter
Music for the show is from Fatboy Roberts’ Geek Remixed project.
Huayi Brothers Media and Ckf Pictures are teaming to bring Kurosawa’s script, based on Edgar Allan Poe‘s short story The Masque of the Red Death, to screens, reports China.org (via AkiraKurosawa.info). Written by the Yojimbo director in 1977 following production on Dersu Uzala — when he was also working on Ran and Kagemusha — the story is set in a apocalyptic landscape with a plague threatening the world and the royal family ignores the suffering of those afflicted.
Although a release is planned for 2020, no director has been set yet,
“Mask is one of Kurosawa’s films that never made it to the big screen,” said director/producer Chen Kuo-Fu, founder of Ckf Pictures. “So we thought, ‘Why don’t we make the film for him?'”
The legendary filmmaker wrote the script for “The Mask of The Black Death” based on Edgar Allen Poe’s short story “The Masque of the Red Death.
China’s Huayi Brothers Media has unveiled an ambitious slate of new projects, including The Masque Of The Black Death, based on an unfilmed script written by Japan’s most influential filmmaker, Akira Kurosawa.
Kurosawa started writing the script in 1975 after directing Dersu Uzala as an adaptation of the Edgar Allan Poe short story, The Masque Of The Red Death. He completed the script before his death in 1998, but it never went into production.
The Poe short story follows a prince and his noblemen attempting to hide from a deadly epidemic behind the walls of a castle. The courtiers hold an elaborate masquerade, as a distraction from the devastation outside, but the Red Death itself turns up as a guest.
Huayi Brothers is collaborating on the project with Chen Kuo-fu’s Ckf Pictures. Speaking a press conference in Beijing, Chen and Huayi
Entitled Akira Kurosawa’s Dreams (at least how it’s billed on the Criterion Collection website), this sumptuous epic is admittedly an oddity in the Kurosawa canon. Narratively, the film is broken down into eight varied vignettes, all of which drawn directly from actual dreams had by the film’s director. Rooted heavily in Japanese culture and folklore, Dreams takes us from small scale stories like that of a young boy getting caught in the middle of a forest-set fox wedding, to the apocalyptic
If the movies are truly as dead as they say, then FilmStruck is nothing short of heaven on Earth. It’s here, it’s alive, and hot damn has it come out of the gate swinging. Hundreds of essential titles are ready to go on launch day, and while hundreds more are imminently on the way, there’s already more than enough to satisfy whatever mood you’re in and scratch itches that you didn’t even know you had.
France, as ever, was spoiled with options when it came to selecting their film for Oscar competition this year. Frantz (reviewed) from François Ozon would likely have appealed to Oscar voters but the selection committee went with the controversial Elle (reviewed at Tiff). It's a brave choice but we think a smart one; even if its divisive within initial voting, it will likely be a candidate to benefit under the Executive Committee 'saves' rule. Plus those who love it will love it passionately meaning it could even have a dark horse shot at a win. Not only does it have a high profile auteur and star (Paul Verhoeven and Isabelle Huppert) but it's got sensational reviews, a Us release on the table in the thick of Oscar traction season (November 11th), and an outside shot at a Best Actress nomination. France has not won
1951. Rashomon, by Akira Kurosawa. A priest, a woodcutter and another man are taking refuge from a rainstorm in the shell of a former gatehouse called Rashômon. The priest and the woodcutter are recounting the story of a murdered samurai whose body the woodcutter discovered three days earlier in a forest grove. Both were summoned to testify at the murder trial, the priest who ran into the samurai and his wife traveling through the forest just before the murder occurred.
Three other people who testified at the trial are supposedly the only direct witnesses: a notorious bandit named Tajômaru, who allegedly
As you’d expect, there are new titles from big regional hitters such as China and Japan here, but also films from the Asian countries you rarely hear from or about. Like Kazakhstan – two sides of which can be seen in the films of Yermek Tursunov: Zhat (Stranger) is a scenic wilderness adventure in the vein of Kurosawa’s Dersu Uzala; and Little Brother (Kenzhe), an urban hitman thriller. There are also new features from Myanmar (monk’s story Panchagavya), Tajikistan (rural women’s tale Chilla), Mongolia (rockumentary Live From Ub) and even a short from Saudi Arabia. Offerings closer to the sort of thing you might expect include an eye-opening documentary on South Korea’s celebrity pro-gamers (State Of Play) and Japanese schoolgirl anime The Case Of Hana And Alice, while rising Chinese star Zhang Wei is one of many directors in attendance here,
While we’ve debated the merits of The Revenant‘s “emotionally grounded story,
Here is the complete list of films which will be screened at the festival:-
Dir.: Zeresenay Berhane Mehari (Ethiopia / 2014 / Col / 99)
History of Fear (Historia del miedo)
Dir.: Benjamin Naishtat (Argentina-France-Germany-Qatar-Uruguay / 2014 / Col / 79)
With Others (Ba Digaran)
Dir.: Nasser Zamiri (Iran / 2014 / Col / 85)
The Tree (Drevo)
Dir.: Sonja Prosenc (Slovenia / 2014 / Col / 90)
Next to Her (At li layla)
Dir.: Asaf Korman (Israel / 2014 / Col / 90)
Dir.: Alex Sampayo (Spain / 2014 / Col / 87)
Dir.: Raphaël Neal (France / 2014 / Col / 81)
Dir.: Chaitanya Tamhane (India (Marathi-Gujarati-English-Hindi) / 2014 / Col / 116)
Dir.: Sudabeh Mortezai (Austria / 2014 / Col / 98)
India Gold Competition 2014
The Fort (Killa)
Dir.: Avinash Arun (India (Marathi) / 2014 / Col / 107)
Unto the Dusk
Dir.: Sajin Baabu (India (Malayalam) / 2014 / Col / 118)
Names Unknown (Perariyathavar)
Dir.: Dr. Biju (India (Malayalam) / 2014 / Col / 110)
Buddha In a Traffic Jam
"The holiday starts here. And to put you in party mood some of your favourite comedians bring the spirit of pantomime to these pages. Mike Yarwood, on our cover, opens the festivities, followed by a host of BBC TV comedians – Michael Crawford, Ronnies Corbett and Barker, John Inman, Larry Grayson (with Isla St Clair, of course), Little and Large, and last, but not least, a villainous Peter Cook."
And so begins the bumper 118-page edition of the Christmas and New Year Radio Times for 1978. The 26-page guide to BBC television and radio for 23 December 1978 to 5 January 1979 is more than just a list of programmes: it's a fascinating historical document, revealing much about the country we were that last Christmas before Thatcherism arrived and changed everything.
Zvyagintsev’s dark and beautiful film premiered at Cannes last year where it won the Special Jury Prize. For our release this May (it opens next week in the U.
The big story
What sort of British films do we want? Or, more specifically, what sort of British films does David Cameron want? More commercial, big-box-office ones it seems, as the prime minister carefully primed the media for the publication of the government's film policy review. His "remarks" were fed to the press overnight, in advance of his visit to the James Bond studios at Pinewood – leading to immediate suggestions that garlanded veterans like Mike Leigh were "finished". More films like The King's Speech and Slumdog Millionaire, please, said Cameron – but, as Peter Bradshaw pointed out, when politicians meddle in film-making, disaster is never far away. Perhaps Cameron could reflect on what might happen to a film he claimed to admire, Lindsay Anderson's If..., if it had it been around today.
In the early 1970s Akira Kurosawa's fortunes and spirit were at a low ebb. He'd been dropped by Hollywood from the Pearl Harbor epic Tora! Tora! Tora! in which he had invested much time and energy. His first colour film Dodes'ka-den was a critical and box-office failure. A crisis in the Japanese film industry had made financing his movies impossible. As a result he attempted suicide. But eventually his career was restored by a Soviet invitation to direct a film version of a non-fiction work he'd loved in his youth, and back in the 1940s he had planned a Japanese version that was aborted, partly due to unsuitable locations but mainly because its themes were in conflict with Japanese militarism. Published in 1923, the book is a memoir by the Russian army engineer Captain Vladimir Arsenyev about his friendship with a nomadic hunter, Dersu Uzala,
The new year's festival season starts here, and so does the revolution. Short film is often regarded as a stepping stone to features, and there's plenty of that potential here, even a few big names (Michael Fassbender in Goldfish). But it's also a potentially radical art form in itself, and an admirably inclusive one. So here you'll find documentaries selected by Occupy London; showcases of queer cinema; black and Asian stories; feminist porn; found film; experimental shorts; special guests; parties; a film from Jake and Dinos Chapman (The Organ Grinder's Monkey, with Rhys Ifans); and a music doc with a live improvised score on homemade instruments. Something for everyone, then. There's even an evening of films about sad, lonely men (including Mark Gatiss, Matthew Holness and Roger Allam).
Various venues, to 15 Jan
Frozen Landscapes, Glasgow
What does a sunny place like Glasgow know about cold climates,
So, it's Oscar time, that annual back-slapping ceremony for the American film industry which matters, year after year, despite what any of us say.
I watched the ceremony live last year and may even do so again this time round (although, due to a Haribo-induced sugar rush, then crash, I don't really remember the end of the ceremony), and so will a global audience of millions.
It's the biggest award ceremony on the planet, and it also includes an often overlooked category of Best Foreign Language Film, which is where this column comes in. We all know it means a lot for the English language films that are nominated, but what about the films that come from further afield? Just how big a deal is being recognised by the Western establishment,
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