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Sinophiles Rejoice! Another Hit! #JapanCuts2017 MY DAD AND MR ITO

Thanks, Tanimaru!


Remembering ONE MILLION YEN GIRL which was a wonderfully entertaining movie, I guess I was expecting a bit more screw ball antics with this movie. How surprised I was to see another well crafted picture that speaks so much about aging in Japan, family responsibilities and the complicated relationship between a very traditional Japanese father and his daughter. The cast all shine and even a cameo by a notorious aunt is delightful. Simply lensed and composed, we follow as the father haplessly moves from his son’s home to the daughter’s apartment that she shares with Mr. Ito. He is 54 and she is 34, so this kind of “living in sin” disturbs the father and prompts their early sparing. It all reaches a crescendo as the father seeking a place to call his own decides to return to the family house outside the city only to have a freak storm burn down a favorite persimmon tree (memory of his wife) and as a branch breaks off, the entire house itself. All ends as the father decides to join seniors in a home, and carrying a single bag, he heads for the train and his final stage of life. As he departs, Aya has the urge to pursue him and complete some unfinished business between father and daughter.

Lily Franky has to be complimented for his true and steady performance. He anchors the movie and, when he is not on screen, you feel it. Aya  felt a bit one note to me. Forever pouting or complaining, the smile on her face as she pursued her Dad revealed some aspects of her performance we wished we could have seen earlier.


July 23, 2017 Posted by | ART, BUSINESS, CULTURE, FILM, Uncategorized, We Recommend | , , , , , | Leave a comment

ilm/Festivals SUMMER LIGHTS is a HIT! #JapanCuts2017

Another Tanimaru RAVE!


The opening 20 minutes of just the first person account of the day the bomb was dropped on Hiroshima is gripping. Recounting the bombing and caring for her dying sister in the days that followed. The interview completed, in the park the director meets a young woman from Hiroshima. With the sounds of the summer insects accompanying them, she tells him more about the tragedy of Hiroshima. The film has a documentary feel as they walk the busy streets seeking a okonomiaki restaurant for lunch. She is persuasive as they navigate to find a place to eat but she is clearly leading the way with a passion for things that are old. Finding the right place, they are treated to a history lesson from the owner and it sets the woman into a new pensive mood. Suddenly she grabs his hand and they run to catch a train to the seaside. It is there while meeting a young boy and his granddad that she reveals her name – Takeda Michiko, the same name as the sister of the interviewee. They decide to join the granddad and grandson for dinner – somehow meeting his crew has been forgotten. Akihiro has joined an alternate reality on the day Obon is celebrated, the festival for the ancestors. It turns out that Michiko is a ghost – the sister who passed away. The fable ends as Akihiro explains it all to the little boy. 


Even though the dialogue is a bit stiff and on the nose at times, it is good to see that the film was included, even though the director was not Asian. Like DAGUERROTYPE, the creative work is showcased regardless of ethnicity or nationality. Kudos to “Japan Cuts” for pushing the envelope for the second time in the festival

July 23, 2017 Posted by | CULTURE, ENTREPRENEURS, FILM, Uncategorized, We Recommend | , , , , | Leave a comment

Film/Festivals -Review WEST NORTH WEST #JapanCuts2017

Another gifted review from Tanimaru

It starts with a typical and embarrassing scene at Immigration in Japan. A young Iranian woman clearly has issues that need to be dealt with. She later finds herself in a coffee shop and notices another woman crying alone at a table. The Iranian woman’s phone rings and it is clearly someone from home. Excited and distraught she speaks too loudly and customers leave. The woman crying in the corner comes to sit with her and their conversation becomes so loud more customers complain. They leave and the crying woman offers the Iranian woman a ride home – and she declines at first but later accepts. So begins WEST NORTH WEST.

The Iranian woman needs a friend, Kei becomes her friend, but Kei’s lover is jealous. The Iranian woman finds it hard to accept Kei’s lifestyle, so with her nameless bird she contemplates a life staying in Japan.
What makes the film so beautiful are the silences. the performers soak up the atmosphere in each scene and they are so present with each other. Behavior substitutes for dialogue. The cinematography enhances this wide masters, simple and subtle camera moves allowing life to happen in the frame. A simple Iranian meal with yogurt Iranian style prepared by Naima allows them to bond. Naima shares food and Kei returns the favor with applying makeup followed with a night where Kei works as a bartender. They dance in wild abandon, observed by Ai, Kei’s lover. Ai becomes ill and needs surgery and for the first time, Ai’s mother realizes that “Kei” is not a man. It is a disturbing encounter for Kei. When Ai is released from the hospital she silently confronts Naima, telling her to never see Kei again And then Ai seeks out Kei finding her where she swims, but Kei dismisses her. They later hook up but Kei is ready to break up. Ai warns Kei that Naima is “not like us” – but what does “us” mean? Baro tries to sing at the bar where Kei works and does poorly. Some customers insult her and this is too much for Kei who attacks one of the men. He retaliates brutally. Baro dresses her wounds prompting Kei to try to kiss her, but Naima declines.
So many scenes play out in real time including a ride on a Tokyo bus that was clearly captured without anyone knowing. Kei and Ai find their way back to each other and Naima graduates. Before Naima departs for Iran, they meet one last time at the bar. It is bittersweet – but they both have closure. This is a unique and wonderful film. Please have patience to fully enjoy it.




July 21, 2017 Posted by | ART, CULTURE, FILM, Uncategorized, We Recommend | , , , , , , | Leave a comment

FILM/ Festivals – Reviews #NYAFF2017

More from Tanimaru!


Tokyo Sky

Shinji and Mika are two young people trying to make their way in Tokyo. He is a day laborer blind in one eye and she is a girl from “inaka” the countryside with a dysfunctional past. One of Shinji’s friends dies while on the job and at his funeral Mika and Shinji begin a relationship – a relationship that is slow and careful as the world around them changes with death and people moving on. Both actors charm you as they manage the dog eat dog world of Tokyo. There is a street singer appearing throughout the film and they suppose another loser in Tokyo, but in the end, her face appears on the side of a van advertizing her first EP.

Aside from a couple of places where animation suddenly appears, the claustrophobia and busy world of Tokyo is accurately rendered. The narration is a bit on the nose in places and one might wonder if it is really necessary because the visuals do a very good job of telling the story of what it is like living for the city and trying to find love and companionship.
I have followed the work of Masatoshi Nagase since his first films with Argo Project more than 25 years ago. Nagase is a veteran now, a true leading man with the gravitas fitting Japan’s most famous actors. His sensitive performance in AHN still stays with me. Here in HAPPINESS he is guided by Sabu, whose film CHASUKE’S JOURNEY was a cinematic tour de force in last year’s NYAFF. Nagase plays a man who arrives in a small town with a happiness helmet and when the residents put it on, they see they most treasured memories. But there is a dark side, that will soon emerge for Nagase’s character and it is here where the film take a turn into a kind of madness. Nagase is stoic throughout. A carefully measured performance of depth. HAPPINESS is not happiness at a certain point in the film, but the journey leading to happiness, for the patient, is worth taking.
Aroused By Gymnopedes
Since this is a Nikkatsu film, it is easy to understand why just about every 10 minutes there is a sex scene, but what is so strange is the lack of a coherent story to wrap around the frequent trysts in the movie. Furuya is a has been director. Washed up, hasn’t made a film in about a decade and in the midst of a possible come back, his lead actress quits. Thus begins a series of wanderings as Furuya beds numerous women including his student and finally a nurse at the hospital where is wife lies in a coma. There is also a horny neighbor who tries to seduce him from the start. The music of Erik Satie seems to be the cue for the sex business to start with whomever is in close quarters to Furuya but this one trick pony runs out of steam pretty early in the film. The composition “Gymnopies” by Satie was played by Furuya’s wife and clearly it was her tool to arouse him – a tune that obviously continues to play in his head with every woman he encounters.
Dawn Of The Felines
DAWN OF THE FELINES is a romp. A look at the lives of young ladies in Tokyo trying to make ends meet via sex for sale agencies. Masako is the lead lady who has a on and off relationship with a client. There is another who is clearly a single mom trying to manage child care while she turns tricks and finally Rie, who is married but unknown to her husband is also having sex for money. The film is clever shooting on the streets of Tokyo in a wonderful guerilla style. The actors are not shy about showing the underbelly of sex life in Tokyo – a world that is pretty much out of the view for a foreigner. So with some laughs and sad moments, the reality of life in Tokyo is revealed. Don’t point a finger at these ladies – they know full well what they are doing.
Totally retro in design and execution, DEALER/HEALER is an homage to the early films of Chinese gangsters and the ladies who love them. “Cheater Hua” is the archetype of the gangster who is reformed and proceeds to get the members of his inner circle to do the same. My only criticism is the overly used soundtrack that is way to on the nose. This may also be a homage but in some ways it seems to take away from storytelling, but if you like this genre, DEALER/HEALER will please
Is an elegant thriller. A fine performance by Ken Watanabe. We have missed this subtile but powerful work in a small film. He reaffirms his status and stardom. The rest of the cast is also effective and committed. The intertwining stories don’t really connect, so re-reading the synopsis for RAGE – I wanted to have a frame for these comments. Each of the three stories is so compelling I keep wondering why “rage” became the title? There is clearly rage in the Okinawan story, even though it subverts geography to place a American GI drinking area next door to Naha’s main market – the real distance is at least a 30 minute drive and this is important because this is the inciting incident of the this story. I was moved, entertained and I was engaged in the firm and confident structure of the film but at the end I kind of wished that one of the stories had been the focus of the film.

July 14, 2017 Posted by | ART, avant-garde, CULTURE, FILM, Uncategorized, We Recommend | , , , , , , , | Leave a comment

Film / Festivals / Review SOMEONE TO TALK TO — #NYAFF2017

Another Excellent Revie from our own Tanimaru.


Right from the start, it is too good to be true, after viewing one couple who want to divorce, Angio and Lina proudly submit their papers for marriage. Fast forward 10 years and now with a daughter, they are falling apart. Angio’s sister plants the seed that Lina is cheating. Lush in visuals (you can almost taste the food of a restaurant) SOMEONE TO TALK TO pulls you into a world of infidelity, pursuit and murderous plans. The sense of China as mix of traditional and contemporary is both fascinating and tragic as the marriage falls apart and other adulterer goes back to his partner. Angio refuses to divorce Lina so she runs away with her lover, leaving her daughter and her life behind to be cared for by her sister in law and a new husband, as Angio travels north pretending to look for them. He meets an old high school friend, recently divorced, who shares with him – “Life is in the Future, not the past”. Angio leaves abruptly as his daughter falls ill. When she finally wakes up, he goes out to buy her wontons and at the station, meets Lina, still on the run. Considering first to kill them both, he abandons his plan now ready to divorce her and move into the future.

Everyone in the movie talks about wanting “someone to talk to”. Relationships have fallen apart because people do no communicate. SOMEONE TO TALK TO is sensitive and full of life – ordinary people seeking someone to talk to.

July 10, 2017 Posted by | CULTURE, FILM, Uncategorized, We Recommend | , , , , , , , , , | Leave a comment

Film REVIEW — SEVEN WEEKS — #JapanCuts2015

The uncanny Tanimaru entices us with a review of SEVEN WEEKS:

It runs almost 3 hours so I had to watch in Chapters (as it is laid out)

Obayashi Noubuhiko’s  SEVEN WEEKS is a lush visual delight.

It took more than ten years to get it made and was inspired by the late Suzuki Hyoji, who was a resident of Ashibetsu (where the film is set) and who began a film workshop that was just in it infancy when he passed away of pancreatic cancer. Obayashi and Suzuki became great friends, so the film is an homage to their friendship and the love of cinema.

Ashibetsu as a location is a jewel in the vast nature of Hokkaido.

Obayashi never misses a moment to capture the beauty of the town and the surrounding area.

It is a long film, almost 3 hours, but after some time, you surrender to the pace of small town life in Hokkaido and enjoy the pleasure of nature’s bounty.

The cast is first rate, veterans along with capable and compelling newcomers.

My only criticism is with regard to the dialogue of the screenplay. Obayashi wears his politics on his sleeve, so the rehashing of the same ideas related to WWII and the war in the Sakalin Islands between Japan and Russia becomes tedious. It is those times when the characters just stop and be a part of the environment that the film achieves its power.

Reincarnation is also a theme explored in the film via a character who is clearly the next chapter of a character who dies young.

I enjoyed the film, but it is for the patient and the true lover of cinema.


Seven Weeks


Seven Weeks

野のなななのか (Nononanananoka)


U.S. Premiere

In Ashibetsu, Hokkaido on March 11, 2:46 PM, Mitsuo Suzuki (Toru Shinagawa) takes his last breath at a ripe age of 92. His dispersed family members arrive during his last moments–all quirky, selfish and human in their own way. When a strange and striking woman (Takako Tokiwa) arrives asking if she was too late, questions are asked and a feverish history begins to unravel spanning Mitsuo’s long life. Director Nobuhiko Obayashi (of cult-classic HAUSU fame) burns through 171 minutes with his unmistakable visual sensibility full of vibrant colors and rhythmic editing that pounds with life and fierce energy to communicate with the viewer.

Japan. 2014. 171 min. Blu-ray, in Japanese with English subtitles. Directed by Nobuhiko Obayashi. With Toru Shinagawa, Saki Terashima, Takako Tokiwa, Yumi Adachi, Tokie Hidari.

“Seven Weeks pulses with more hot-blooded vitality and audacity than most films by [Obayashi’s] younger compatriots” -Don Brown, The Asahi Shimbun

Part of JAPAN CUTS 2015.

October 3, 2015 Posted by | ART, CULTURE, ENTREPRENEURS, FILM, LIFESTYLES, opportunity, Uncategorized | , , , , , , , , , , , , , , , , , , | Leave a comment


Tanimaru on another great film at this year’s Asian American International Film Festival, by a woman directing her first feature film — A GIRL AT MY DOOR:


July Jung / Narrative / South Korea / 2014 / Drama / 119 mins

A young police officer is sent to work in a small village and takes in a teenager to protect her from her abusive stepfather.

a girl at my door 1

A GIRL AT MY DOOR is one of the most moving films I have seen in recent memory. A young policewoman arrives suddenly in a small town, assigned there from Seoul and thus begins a look at small town life in a seaside Korean town. But this is no ordinary sleepy town, there are secrets and a mysterious young girl who catches the policewoman’s eye.

The relationship between the two becomes complicated by her need to protect this young girl from an abusive father and as well to try to lay low until the truth finally emerges why she was sent to this out of the way place. The issues mount bringing the film to a final climax but what makes A GIRL AT MY DOOR so compelling are the performances of the policewoman and the young girl. Their tender interactions are at times uncomfortable, but in many ways, the frankness and openness draw you in and makes you question – what is love? What boundary should we set in the pursuit of true love?

If you get a chance – see it.


As the AAIFF organizers at Asian Cinevision describe it :


“Only people who live under the weight of the world’s prejudices can recognize the preciousness of the people around them.”

Featuring award-winning Doona Bae, Sae-Ron Kim, Sae-Byuk Song, and produced by Changdong Lee, director of “Secret Sunshine” and “Poetry,” A GIRL AT MY DOOR marks July Jung’s feature directorial debut. A GIRL AT MY DOOR tells the tale of a woman trying to save a girl from her misery, a young girl in the face of a dangerous decision, and an abusive yet ironically popular man who takes advantage of the woman’s murky past.

Young-nam rose to the ranks in the police headquarters at Seoul, but was censured for misconduct and demoted to chief of a small seaside town. As the small precinct’s chief, Young-nam bumps into the odd, strangely dressed, teenaged Dohee. When Young-nam catches Dohee’s stepfather beating her, she intervenes. A new friendship forms as Young-nam’s kindness inspires a kind of obsession of Dohee; her childlike innocence touches Young-nam’s heart.

When Dohee’s grandmother dies, Dohee knocks on Young-nam’s door for protection. Young-nam’s past haunts her as things begin spiraling down; accusations of molestation are made against Young-nam, putting her career on the line while simultaneously galvanizing the timid Dohee to make a dangerous decision to save her only friend.

Although labeled as a “child-abuse drama” sub-genre, A GIRL AT MY DOOR tackles many other social issues prevalent in South Korea in a subtle manner that compliments Doona Bae’s subdued voice and subtle emotional nuances. With a plethora of themes and motifs, A GIRL AT MY DOOR has screened and been nominated for awards at various prestigious festivals, including Cannes, Stockholm, Chicago International, and the Blue Dragon Awards. AAIFF’15 will mark its New York City debut.

Co-Presenter: Korean American Film Festival NY (KAFFNY) and Korea Society

Director’s Bio

July Jung graduated from the Film, Television and Multimedia program at the School of Art, Sungkyunkwan University. She continued her studies at Korea National University of Arts, where she produced A MAN UNDER THE INFLUENZA, which received the Sonje Award at the Busan International Film Festival in 2007. Her short film, 11, was invited to the International Women’s Film Festival in Seoul. After proving her potential with THE DOG THAT CAME INTO MY FLASHLIGHT, JUNG makes her feature directorial debut with A GIRL AT MY DOOR.

August 4, 2015 Posted by | BUSINESS, CULTURE, FILM, LIFESTYLES, opportunity, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Film Festival Review — THE PURPLE ONION — #AAIFF Asian Cinevision *nyc

Great tidings from cinephile at large Tanimaru, chiming in to review THE PURPLE ONION:


Matt Szymanowski / Narrative / USA, Poland / 2015 / Comedy, Drama / 75 mins

A struggling Chinese American comedian in San Francisco finds himself on a downward spiral of disappointment until he finds solace in a sexual encounter with an older woman.

THE PURPLE ONION is an odd story of Johnny, a wannabee comedian, who works as a dishwasher and his dysfunctional relationship with a family friend who has just arrived in San Francisco trying to start a new life. The real Purple Onion was a club in SF; the story picks up the day after it officially closed. There are so many odd ball people in the film, so it plays like a menagerie of near do wells in the Bay Area.

TPO Still7

Johnny wants to be funny so badly but he just can’t break out of his personality funk. This is the other side of the Silicon Valley revolution, the folks struggling to make it. The film plods along from one strange encounter to the next while these two Chinese Americans try to coexist in his tiny apartment. Finally, he realizes his ill treatment of her and of life in general and there is a kind of resolution, and for her she moves on but for Johnny – he finally realizes he can be – funny. Be patient with THE PURPLE ONION if you want to enjoy its wry humor.

purple onion2

As the organizers of the Asian American International Film Festival at Asian Cinevision would describe it:


THE PURPLE ONION is an offbeat feature-length, comic-drama film about the most unfortunate stand-up comedian you have never heard of. Johnny, a struggling Chinese American comedian in San Francisco, finds himself on a downward spiral of disappointment in his private and personal life.

Our well-intentioned and increasingly more hapless comedian works as a dishwasher and hopes to move up to server. Most of all, he wants to get on stage and perform comedy; but gradually more serious, absurd and unexpected obstacles prevent him from doing so. The comedian’s estranged and single relative Jeanie suddenly moves in to Johnny’s tiny apartment; she’s lost everything and her home to foreclosure.  As the new roommates adjust to one another’s personal habits Johnny (a habitual masturbator) and Jeanie (a snooper) also struggle to find their own roles in a vibrantly diverse, often profoundly beautiful yet intrinsically challenging metropolitan San Francisco.Emotionally confused and in need of a human connection, sexual intrigue develops as Johnny and Jeanie’s fates intertwine.

Post Screening Panelists:

Matt Szymanowski, Director and Writer, THE PURPLE ONION
Noreen Lee, Actor, THE PURPLE ONION


Director’s Bio

Matt Szymanowski is an educator and award winning filmmaker in San Francisco. Inspired by his short stint as a door guy at a famous comedy club where he met actor / comedian Edwin Li, Matt wrote, directed, produced and edited his debut feature film The Purple Onion. His production company Wolves Films produces short films for brands and nonprofits. Matt’s narrative work has played Warsaw International, San Francisco International, Clermont Ferrand, among others, and has been broadcast on Polish TV. He wrote the novel Cupertino, about reckless youth in the famous Silicon Valley suburb. An alumni of the Berlinale Talents program, Matt received a BA in humanities from Loyola Marymount University in Los Angeles and studied film and theater directing at the Polish National Film School in Lodz, Poland.

August 3, 2015 Posted by | CULTURE, ENTREPRENEURS, FILM, LIFESTYLES, opportunity, We Recommend | , , , , , , , , , , , , , , , , , | Leave a comment


Guest Reviewer and cinephile-at-large Tanimaru has seen Japan Cuts 2015 film THE VOICE OF WATER:

I remember Masashi Yamamoto’s 3 POINTS that played “Japan Cuts” a few years back and not being impressed by what I found a wandering film that lacked a core. It played like rough sketches in preparation for making a film. A few years later BE MY BABY came on the scene and my faith in Yamamoto’s work returned.

His newest work THE VOICE OF WATER pushes the bar even higher with stunning performances and the sensitive theme of organized religion in Japan and the link to Korea. The Korean tie I found especially interesting. After viewing KABUKI-CHO LOVE HOTEL, at the New York Asian Film Festival last week, which featured a key story with two Korean characters, it is refreshing, if not controversial, that filmmakers are looking directly at those who make up today’s young Japan. VOICE OF WATER also features an African character who teams up with a Yakuza figure in the film.


Despite the glossy appeal of the lead actress who plays a Shaman for the religion “God’s Water” – this is a movie about need, about people searching for meaning when their lives have gone far astray coping with day to day life in Tokyo. The colors, the sounds – all of it is intoxicating and pulls you into the world of this cult orchestrated by an executive from a top ad agency in Tokyo.


What Yamamoto pulls off so well is the primal appeal that drives everyone to the cult and ultimately away from it. In the final 10 minutes, when the film reaches its climax, the miracle we’ve been waiting for finally occurs but in a way  we knew was just around the corner right from the start. We’ve learned the history of yet another Korean connection to Japan – and the power of women and of spirits.

About the Director:


Masashi Yamamoto (The Voice of Water)
Yamamoto first debuted Carnival in the Night (1983) at the Berlin Film Festival and later gained attention for Robinson’s Garden (1987). His 1999 Junk Food was screened in the United States during a research fellowship in New York City, and he has since broadened his Japanese and Western audiences. Yamamoto was last at JAPAN CUTS with Three☆Points in 2011.

July 26, 2015 Posted by | ART, CULTURE, FILM, LIFESTYLES, We Recommend | , , , , , , , , , , , , , , , , , , , | Leave a comment


Guest Reviewer and cinephile-at-large Tanimaru blesses us with a take on Japan Cuts 2015 film THIS COUNTRY’s SKY:

It is refreshing to see a film done in the style of the masters of Japanese cinema. Some may say this style is too formal, staged and mythic, but I like seeing the composition, the subtle camera moves and the behavior between people.
This Country's Sky_07
It is war time, towards the end of the war and everyone is doing the best they can as Tokyo is being bombed into submission. In the midst of this a young woman is coming of age – developing the “scent of a woman” as her mother points out and there is a man next door – a 3rd class man who has not been called up for the war.
This Country's Sky_01
The seduction is patient and wonderfully naive in many ways but against the backdrop of war depicted by formations of planes in the sky or an occasional almost still frame of fires in the distance, the film is gentle and quiet. Until the end, there is no score.
This Country's Sky_08

With so much attention on pop culture movies, I think THIS COUNTRY’S SKY is a welcome return to classic Japanese cinema.

Youki Kudoh (This Country’s Sky)
Youki Kudoh’s border-crossing career took off receiving Best Newcomer Award at the 1985 Yokohama Film Festival for her role in Gakuryu (Sogo) Ishii’s The Crazy Family, soon followed by Shinji Somai’s Typhoon Club (1985). She broke onto the international scene in Jim Jarmusch’s Mystery Train (1989) alongside Masatoshi Nagase as a couple on a Blues pilgrimage in Memphis. With further breakout roles in Picture Bride (1995) and Snow Falling on Cedars (1999), Kudoh continues to distinguish herself as a fantastic talent in Blood: The Last Vampire (2000), Memoirs of a Geisha (2005) and The Limits of Control (2009).

About the Director:

Haruhiko Arai (This Country’s Sky, Undulant Fever)
Haruhiko Arai is a venerable force in Japanese independent cinema as prolific screenwriter and publisher and editor of the influential Eiga Geijutsu magazine. His writing credits include collaborations with some of the greatest directors in Japanese cinema from the 1970s to today: Koji Wakamatsu’s Hika, Tatsumi Kumashiro’s A Woman with Red Hair, Rokuro Mochizuki’s Minazuki, Ryuichi Hiroki’s Vibrator and It’s Only Talk, Junji Sakamoto’s KT, as well as further numerous collaborations with luminaries such as Chusei Sone. He joins this year to present the World Premiere of This Country’s Sky, his first film as director since the acclaimed 1997 Body and Soul, and Hiroshi Ando’s Undulant Fever as screenwriter.

July 26, 2015 Posted by | ART, CULTURE, ENTREPRENEURS, FILM, LIFESTYLES, opportunity, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

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