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Mikio Naruse 100th Birth Anniversary

Because his style was similar to that of Yasujiro Ozu, who was already active at Shochiku, he moved to PCL (currently Toho) in 1933, where he appeared in the talkie works "My Wife, Like a Rose" and "Tsuruhachi Tsurujiro." It got attention. There were times when he was unable to make as many films as he wanted due to wartime film regulations and post-war Toho disputes, but in 1951 he revived his career with Meshi. Since then, he has released masterpieces one after another, including "Okaasan," "Lightning," "The Couple," "Wife," "Anii Mouto," "Sounds of the Mountain," and "Bangiku." The pinnacle of his work, "Floating Clouds," is Kenji Mizoguchi's "Wife." Even director Ozu was impressed, calling it a masterpiece of Japanese cinema, on par with "The Sisters of Gion." He depicted ordinary people in everyday life with an everyday realism that was not influenced by lyricism, and he consistently sought out women as his subjects.

Mikio Naruse 100th Birth Anniversary

NR 2005
All's Right With The World

The film explores the hidden face of poverty in one of the world's most affluent and capitalistic cities. Directed by CHEUNG King Wai (KJ: Music and Life), the film follows five Hong Kong families of different backgrounds that receive government subsidies. How do the poor get by in a glossy city that flaunts conspicuous consumption and hides poverty in cavernous public housing estates? All's Right With The World shares the different stories of these low-income families, their daily living conditions, and their ways of celebrating Chinese New Year.

All's Right With The World

NR 2007
A Bao A Qu

Hasegawa is writing a sequel to his previous novel, based on a true character who murdered 9 people on the street, with the premise that the killer had a brother. The main character in his new novel, Harumi, drops out of high school and leads a quiet life, unable to understand his brother. He is scared that the same blood runs in his veins but is also enraged by the fact that his brother’s life is consumed as material for novels by many writers. A novelist, Hasegawa faces limitations in making being able to make fiction as real and cruel as it is in reality. Hasegawa hears from a witness how a murder happened but he cannot be sure if it is a true event or from her imagination. One day, Hasegawa encounters Harumi… This is an obscure yet attractive film that extends its style from Kurosawa Kiyoshi to David Lynch. The title, A Bao A Qu, comes from a shapeless being that earns its shape as the pilgrim of a true heart near him featured in Indian religion and The Arabian Nights.

A Bao A Qu

2.3 2007
Yuuko Sou's Truly Scary Spirit Photographs

Based on the psychic photographs selected by Ms. Yuko So, who is a psychic and a well-known appraiser of psychic photographs, we will shoot on location in the Izumo region, the sacred land of the gods. An abandoned hotel, an old pond with a legend of water burial, a railroad crossing where there are many accidents of unknown causes, the remains of a graveyard, a cape where corpses wash up, a suicide spot, and so on. Indescribable fear, and bad weather of snowstorms, thick fog, and hail that attack the film crew. Were we drawn to an unknown entrance to the underworld? Or have you touched the wrath of the gods? A shocking psychic photo captured by a camera at a psychic spot.

Yuuko Sou's Truly Scary Spirit Photographs

NR 2005
Soba Girl Yuzu-chan

Naruse Yuzu, the only daughter of the soba restaurant "Naruse," falls in love in secret with Teppei, who works there. But then her father, Gajiro, suddenly passes away, and in his will he says, "If the quality of the food deteriorates, close the restaurant immediately," which worries Yuzu. She works hard to become a master of soba, but things don't go well. Then, Gajiro's illegitimate daughter, Akiko, arrives from America. She's skilled at making soba, and she even exudes her American-trained sex appeal towards Teppei, which makes Yuzu anxious, but...

Soba Girl Yuzu-chan

NR 2008
Sword in 21st Century

Casting a sword with one's bare hands may sound like a crazy idea to many in the high-tech, digital 21st Century, but not to Fung, a stock broker, who welcomes the assigned task that bears special meaning. When Fung is bequeathed a tattered notebook by his father Lang on his deathbed, his life is turned upside down. Tasked with a heavy undertaking, Fung has to think and look out of the box before rolling up his sleeves to forge the sword. Through the tedious process of annealing and tempering, grinding and cutting, he begins to contemplate the meaning of casting a sword, and of the elusive father and son relationship.

Sword in 21st Century

6.0 2007
Chinese Dinner

Hoshino (Toshiro Yanagiba) is the mob-connected owner of a ritzy Chinese restaurant. One evening he’s sitting down in a lavishly appointed private room to enjoy an elaborate multicourse dinner, when he gets a call from a crooked politician of his acquaintance. A long-meditated money-laundering deal is about to bear fruit and earn him a cool 5 billion yen. The gang boss who backed him on this deal will be pleased. He is, understandably, in the mood for celebrating when an unexpected visitor (Izam) arrives — a tall, husky, mincing fellow in dreadlocks, with a gun. He is a hit man sent to whack Hoshino — but for what? The hit man neither explains nor kills; instead he sits down at the table and asks Hoshino when dinner is going to be served. Coolly, Hoshino calls in Chinese for the waitress, who enters, wearing a red, slit dress and an inscrutable expression, with the first course. The longest meal of Hoshino’s life has just begun.

Chinese Dinner

6.0 2001
Su Xiaoxiao

Multi-channel video installation (4 overhead projectors, 19 TV sets). Yang Fudong captures the poetic sentiment that arises in moments of individual encounter with the real world, and his own expression of the world inside him. His artistic practice engages in a temperamental dialogue with the traditional culture and literature of China. Yang Fudong constructs a potential platform for dialogue and negotiation between the self and external reality. In so doing, he does not propagate ?xed believes or dogmas. His work is based on process, on what he learns from ceaseless study, observation, and involvement with his social environment and the way it relates to the individual.

Su Xiaoxiao

NR 2001