Fuji

Jun 14, 2017 — New York’s BAMcinemaFest opens tonight with Aaron Katz’s Gemini and closes on June 24 with Alex Ross Perry’s Golden Exits. “Now celebrating its ninth year, this modest yet prestigious festival, so shrewdly curated, so reliably comprehensive a treasury of contemporary...

Feb 9, 2017 — Repertory PicksStarting tomorrow, New York’s Japan Society will host a weekend-long celebration of actor Meiko Kaji, whose vigorous performances as outlaw women made her one of Japan’s biggest stars in the sixties and seventies. On Saturday, you can see her...

Sep 20, 2016 — Cloaked in chiaroscuro and innuendo, this stylistically innovative creature feature leaves its greatest horrors to the imagination.

Jan 7, 2016 — View a clip from Lady Snowblood: Love Song of Vengeance, featuring actor Meiko Kaji in a scene that highlights the film’s dazzlingly choreographed combination of visual beauty and unflinching ferocity.

Mar 18, 2014 — In addition to technical brilliance and a humanist message, Akira Kurosawa’s adventure features one of the director’s strongest female characters.

Sep 24, 2013 — Marketed as a movie of volcanic passion, Roberto Rossellini’s first film with Ingrid Bergman is rather a pragmatic take on the negotiations of matrimony.

Mar 18, 2009 — Writer, critic, and film lecturer Teruyo Nogami also served as one of Akira Kurosawa’s principal assistants. Hired as script supervisor on 1950’s Rashomon, Nogami went on to work on all of Kurosawa’s subsequent films, later chronicling their unique relationship in...

Mar 10, 2009 — Akira Kurosawa made Dodes’ka-den (1970) during the most crisis-laden period of his career. He had just spent two years embroiled in an ill-fated venture with the Hollywood studio Twentieth Century Fox to direct the Japanese segments of the World War...

Jun 18, 2007 — Yasujiro Ozu had already directed forty-five features by the time he started work on Early Spring, in 1955, but the artistic and commercial success of his previous film, Tokyo Story (1953), had rejuvenated him.

Jan 5, 2006 — A gray flannel ghost story in which the living haunt the dead, the least appreciated of Akira Kurosawa’s midperiod collaborations with Toshiro Mifune throws open the windows of Japanese corporate corruption.