After Life

Jul 21, 1998 — Hiroshi Inagaki’s Samurai Trilogy, of which this release is the first part, was adapted from Eiji Yoshikawa’s epic novel Musashi Miyamoto, which has been called Japan’s Gone with the Wind. The comparison is valid, for the tale of the medieval...

May 5, 1998 — Borrowing inspiration from doom-laden French crime movies like Jean-Pierre Melville’s Le samouraï and ancient Chinese chronicles of patriotic assassins, John Woo’s film is a passionate cinematic upheaval.

May 5, 1998 — John Woo’s last film made in Hong Kong before his emigration to the U.S. reflects the city's anxieties and state of crisis throughout the decade.

Mar 26, 1998 — In The Lady Vanishes, Alfred Hitchcock pushes the romantic comedy-thriller form to perfection. Endlessly imitated, the film remains unique, even in Hitchcock’s canon. In no other movie but North by Northwest was he able to blend these two genres so...

Jun 10, 1996 — Ever since Quentin Tarantino’s Pulp Fiction created a sensation at [this year’s] Cannes Film Festival, where it won top honors (the Palme d’Or), it has been swathed in the wildest hyperbole. In fact, it has sparked an excitement bound to...

Dec 4, 1995 — While Carol Reed’s psychological noir is the most compassionate of movies, it’s a poetic summary of twentieth century harshness—of what can be called the inhuman condition.

Nov 14, 1995 — Tamura (Eiji Funakoshi), the hero of Kon Ichikawa’s drama, may be the loneliest man in the history of the movies—lonelier than the spiritual pilgrims of Bergman, Bresson, and Dreyer.

Jun 5, 1995 — Kenji Mizoguchi departed abruptly from his earlier sentimental films into a world of acute realism with this bold critique of the position of women in contemporary Japanese society.

Nov 15, 1994 — Andrzej Wajda’s third full-length film established the director as a leader of the new Polish cinema.

Oct 25, 1994 — Kenji Mizoguchi develops his medieval fable about moral freedom and slavery with intuition, cunning, and an overarching sense of tragedy.