Hello all. I come to you today with a gathering of pieces, most of which I wrote, that have been recently posted:
· My report on the 42nd International Film Festival Rotterdam, which I attended in January and February, has just been posted in Senses of Cinema's 66th issue. In it, I talk about a healthy portion of the films I saw, from The Master, Stoker, and the Kaurismäki-Costa-Erice-de Oliveira-directed omnibus film Centro Histórico to such pleasant surprises as Manuela Morgaine's Foudre, Carlos Lechuga's Melaza, Alex Pitstra's Die Welt, Sebastián Hofmann's Halley, and Anand Gandhi's Ship of Theseus.
Sebastián Hofmann's Halley
Anand Gandhi's Ship of Theseus
Aki Kaurismäki's segment from Centro Histórico
· I was kindly invited to join a few of my other colleagues in Japanese cinema studies, including Chris MaGee and Julian Ross, in sharing my thoughts on the passing of Donald Richie, who was truly legendary for his contributions to writing on Japanese film and culture. Click here to view the group obit.
· The 2013 edition of the Shinsedai Cinema Festival, which has been showcasing independent Japanese films in Toronto every summer for the past four years, and which I have been personally involved with for just as long, has been officially cancelled due to a shortage of funds and sponsors. Read the announcement from Chris, the festival director, here.
Hello all. I just wanted to gather together a few of the exciting things I've been involved with recently in the Asian film community. First of all, Chris MaGee of the J-Film Pow-Wow and I recently returned from our annual trip out to Frankfurt, Germany, for the Nippon Connection Japanese film festival. While Chris had his hands full as one of the jurors for the Nippon Visions program, I took up press coverage duties. My report on my festival experience is now posted over at the Pow-Wow, along with links to individual film reviews for some of the works that were shown.
Shortly before I left for that trip, I took some time to once again pop up as a guest host on the VCinema Show. Concluding the three-part mini-series of podcasts focusing on Taiwanese filmmakers, I spoke with Jon Jung (AKA Coffin Jon), Josh Samford and Dr. Stan Glick about the divisive and (in my eyes) mesmerizing Tsai Ming-Liang film Goodbye, Dragon Inn. Click on the picture below to access the episode, or get it through VCinema's subscription channel on iTunes.
Finally, things are really gearing up here in Toronto for the 4th annual Shinsedai Cinema Festival, which will be happening from July 12th-15th at the Revue Cinema. The full lineup of independent Japanese films has been revealed; click here to check it out and follow the above link for further details on the festival. There is a lot of fascinating stuff lined up for that week that should amount to a great time for Toronto film-goers and fans of Asian cinema.
Have a look at the festival trailer below, edited together by Pow-Wow writer Matthew Hardstaff, for a peek at the films that will be shown in July:
Hello, all. This past July, the Shinsedai Cinema Festival was held for the third time in Toronto at the Japanese Canadian Cultural Centre, showcasing an impressive array of independent short and feature films from Japan's independent film community. Next year will mark a new chapter in the fest's still-young history, as it will be moving to a brand new venue in the city: the Revue Cinema. With this change, however, comes some new financial responsibilities for the festival's organizers, leading them to branch out to the greater online community for help.
Thus, they have begun a fundraising campaign at IndieGoGo to help cover the costs of transporting and accommodating the Japanese filmmakers who will be arriving from overseas to promote their film and enjoy the festival. The goal is to raise $7000 in a little under 60 days - something that, with enough people, can be easily accomplished. Even a small donation would be greatly appreciated, and on the right side of the campaign page, you will find a listing of rewards for specific donation amounts.
So, if you feel like helping out, just check out the campaign at the above link to see your options and more info on the impact your donation will make. Also, if you wish, you can check out the main page for the Shinsedai Cinema Festival. Many thanks in advance!
Hello all! After having recently spent a relaxing stint in northern Ontario cottage country and, before then, kept fairly busy with various writing projects here and there, I have quite a bit to report regarding my goings-on in the film community! Let's dive right in, shall we?
* At the end of July, the 3rd Shinsedai Cinema Festival came and went through Toronto, bringing with it a slew of great independent Japanese films, including Fumie Nishikawa's The Azemichi Road, which won the festival's Kobayashi Audience Choice Award; Koji Fukada's Hospitalité; Keita Kurosaka's Midori-ko; Ryugo Nakamura's The Catcher on the Shore and Neil Cantwell and Tim Grabham's KanZeOn. You can read a brief overview of the festival I wrote for the J-Film Pow-Wow; in addition to that, I'll have a more in-depth report posted at Midnight Eye sometime in the future.
* During the festival, I had the opportunity to interview a special guest - Kiki Sugino, who has served as an actor and producer on Hospitalité, which was the festival's opening night film; Edmund Yeo's short film Exhalation and Kah-Wai Lim's Magic and Loss. In the time I was allotted, we covered a good portion of topics regarding her career, collaborations with various directors and cultural background. Read the full interview over at the VCinema Blog!
* Finally for now, a few days ago marked the release of a new book from Intellect that I contributed to: World Film Locations: Tokyo, which looks at some notable sites and sights throughout the city that have popped up on movie screens in productions both Japanese and otherwise. It was edited by my buddy at the J-Film Pow-Wow, Chris MaGee, and features pieces from a whole slew of writers and film folk who I'm very lucky to count among my friends and acquaintances. They consist of *deep breath* the Pow-Wow's own Matthew Hardstaff and Eric Evans, Nishikata Film Review's Catherine Munroe Hotes, VCinema's Jon Jung, Midnight Eye's Tom Mes, Directory of World Cinema: Japan editor John Berra and Japanese Canadian Cultural Centre Executive Director James Heron, among many more talented contributors. If you're interested in picking up the book, you can follow this link to Amazon.ca or check any convenient online retailer or hip bookstore near you!
UPDATE (28/08/2011): It seems that the book's release has been slightly delayed by one month - thus, it will be out on Sept. 15th.
Now entering its third year, the Shinsedai Cinema Festival will once more be bringing a slew of independent Japanese films to Toronto this summer. Began in 2009 by author and Midnight Eye co-founder Jasper Sharp and J-Film Pow-Wow founder and editor-in-chief Chris MaGee, the festival is designed to highlight some of the newest filmmakers to emerge from Japan, giving North American viewers a rare chance to take a look at noteworthy films that have received attention elsewhere in the world. This year’s guests will include Kiki Sugino, the lead actress and producer of the opening night film, Koji Fukuda’s Hospitalité; comedian and director Devi Kobayashi, whose films Mariko Rose the Spook and Hikari will be shown back-to-back; and Ryugo Nakamura, a fifteen year-old filmmaker who already has an impressive number of short films (thirty, to be precise) to his name and will be presenting his latest feature, The Catcher on the Shore.
This year’s lineup looks like quite the diverse grab bag of cinematic treats, offering a wide selections of genres to choose from. Along with the above-mentioned films, I am quite intrigued by a few films I recognize from this year’s lineup from Frankfurt’s Nippon Connection film festival, which I had the pleasure of attending. Besides highlights like Koji Shiraishi’s Shirome, a mockumentary that features girl group Momoiro Clover thrust into a horror film scenario, and Yoichi Higashi’s Wandering Home, a family drama starring Tadanobu Asano as the alcoholic photojournalist Yutaka Kamoshida, I am perhaps most excited about Keita Kurosaka’s Midori-ko, a positively brilliant, beautifully strange work of hand-drawn animation that took its maker over ten years to complete.
The 3rd Shinsedai Cinema Festival will run from July 21st-24th, 2011, at the Japanese Canadian Cultural Centre in Toronto. Full details on the films, schedule, tickets and passes and location can all be found at the festival’s main website. I will be doing some coverage of the festival for a few film sites, so stay tuned for links to those pieces once they are completed!
Check out the trailers for Hospitalité and Midori-ko below!
Hello all. As promised, here I am with my final post of 2010 - which, overall, I found to be a pretty good year. Certainly two big highlights were the Nippon Connection film festival, which I attended in Frankfurt, Germany with my good friend and whip-crackin' editor Chris MaGee of the Toronto J-Film Pow-Wow, and the Shinsedai Cinema Festival, which was co-programmed by Chris and Midnight Eye's Jasper Sharp. I was quite busy during Shinsedai this year, namely with two assignments. Throughout the fest, I reported on the films I saw with the VCinema Podcast's producer and host Coffin Jon Jung, which was a ton of fun (click here for links to the festival coverage episodes). I was also asked by Midnight Eye to do an interview with Gen Takahashi, who was in Toronto to present his excellent film Confessions of a Dog. The result was an informative conversation with a true maverick of Japanese independent cinema - and a very, very nice guy. Check out that interview here.
Confessions of a Dog writer/director Gen Takahashi at the 2010 Shinsedai Cinema Festival
Before finally signing off for the remainder of the year, I'll share my list of the 20 favorite films I saw in 2010. There are some noticeable films missing from the list - simply because I haven't had the chance to see them yet. Thus, you won't find The Social Network, True Grit, 127 Hours, The American nor Enter the Void. Plus, it should be mentioned that this list was arranged according to my own personal tastes - not what I believe to be the "best" films of the year. In other words, these are the 20 flicks that simply tickled my fancy the most.
1) Scott Pilgrim VS the World (U.S./Canada, dir. Edgar Wright)
2) Uncle Boonmee Who Can Recall His Past Lives (Thailand, Loong Boonmee raleuk chat, dir. Apichatpong Weerasethakul)
3) Shutter Island (U.S., dir. Martin Scorsese)
4) Confessions of a Dog (Japan, Pochi no kokuhaku, dir. Gen Takahashi)
5) Wild Grass (France, Les Herbes Folles, dir. Alain Resnais)
6) Inception (U.S., dir. Christopher Nolan)
7) Live Tape (Japan, Raibu têpu, dir. Tetsuaki Matsue)
8) Film Socialism (France, Film socialisme, dir. Jean-Luc Godard)
9) Oh, My Buddha AKA The Shikisoku Generation (Japan, Shikisoku zenereishon, dir. Tomorowo Taguchi)
10) I Saw The Devil (South Korea, Akmareul boattda, dir. Kim Ji-woon)
11) Autumn Adagio (Japan, Fuwaku no adagio, dir. Tsuki Inoue)
12) Our Brief Eternity (Japan, dir. Takuya Fukushima)
13) Harry Potter and the Deathly Hallows, Part I (U.K., dir. David Yates)
14) Crime or Punishment?!? (Japan, Tsumi toka batsu toka, dir. Keralino Sandorovich)
15) The Red Spot (Japan/Germany, Der rote punkt, dir. Marie Miyayama)
16) Kakera: A Piece of Our Life (Japan, Kakera, dir. Momoko Ando)
17) Locked Out (Japan, Rokkuauto, dir. Yasunobu Takahashi)
18) A Normal Life, Please! (Japan, Futsu no Shigoto ga Shitai, dir: Tokachi Tsuchiya)
19) The Girl With the Dragon Tattoo (Sweden, Män som hatar kvinnor, dir. Niels Arden Oplev)
20) Kick-Ass (U.S., dir. Matthew Vaughn)
If you're curious, check Row Three within the next few days to see how my picks match up with those of the other writers for that site.
Well, with all that said, I hope everyone has a very happy New Years celebration, wherever you may be spending it! After my soon-approaching trip to British Columbia (which will take me away from the comforts of the GTA and into the rainy wilderness of the West coast for two weeks), I'll start off the new year with a gathered list of fond memories that truly made 2010 special. See you in 2011!
Hello all. I wanted to squeeze in one last post before August comes to an end. A little over a month ago, I attended and saw many excellent Japanese independent films at the second Shinsedai Cinema Festival, which was put together by co-programmers Chris MaGee of the Toronto J-Film Pow-Wow and Midnight Eye's Jasper Sharp. Also in attendance was Jon Jung, who co-hosts the VCinema Podcast, which delves into Asian cinema on a regular basis. It was great to actually meet and hang out with Jon over the course of the festival - as well as record a few podcast episodes with him that cover the various films shown at this year's Shinsedai Festival. While these episodes went into the wee hours of the morning, sometimes run a bit on the lengthy side and were more than a little, erm, enhanced by a fair share of beverages, they were a great deal of fun to make and (I hope) give a fairly comprehensive summary of what the fest had to offer.
Click the links below to download the special VCinema Podcast episodes. Two of them also feature interviews Jon conducted with two of the filmmakers who were in attendance: Momoko Ando (Kakera: A Piece of Our Life) and Yasunobu Takahashi (Locked Out).
All good things must come to an end, and August 23rd, 2009, marked the end of the Shinsedai Cinema Festival. It can certainly be said that the event, which was co-curated by Toronto J-Film Pow-Wow founder Chris MaGee and Midnight Eye co-founder and author of the new book Beyond the Pink Curtain Jasper Sharp and hosted at the impressive Japanese Canadian Cultural Center, was a notable success, especially for a film festival that was a) in its first year, and b) featuring independent films that had beforehand received little attention in North America. Indeed, Shinsedai offered a range of interesting films that one most likely wouldn’t find at such genre-focused festivals as Toronto After Dark, and in doing so provided a rich experience for adventurous viewers hoping to learn more about Japanese cinema and culture. Toronto now has a new resource that will enable many to expand their knowledge and appreciation of Japanese culture while showcasing the talents of independent filmmakers. I already can’t wait to see what next year will bring.
Chris MaGee, "Thunderfish" actress Junko Kimoto and Jasper Sharp at the opening reception for the festival
While I didn’t catch all of the films that were shown at the festival, I certainly made an effort to see most of them – and am very glad I did. Here’s what I thought of the films I saw:
Weiner Waust (Maya Yonesho, 2006)
Shot throughout Vienna, Austria, this five-minute short was a colorful and imaginative delight. Using stop-motion animation, it mainly consists of abstract patterns and shapes dancing on index cards carried throughout different parts of the city, at time mimicking the sights seen in the streets. The enchanting concept and light tone of the film (partly contributed by an accordion score) make it a fun demonstration of cinematic experimentation.
Naked of Defenses (Masahide Ichii, 2008)
The first feature film shown at Shinsedai turned out to be a notable success, drawing a large audience and favorable reactions from virtually everyone who saw it (who I spoke to afterwards, at least). Focusing on the precarious relationship between two female factory workers (one being eight months pregnant, the other having suffered a miscarriage), it is a still, contemplative drama about past traumas and unspoken resentment. The story takes place in the eerily quiet countryside and urban spaces of Toyama Prefecture, providing a sharp contrast to the loud din of the plastics factory where the women work. Lead actresses Ayako Moriya and Sanae Konno both give superb performances, and writer/director Ichii delivers a very well-made film that adequately accommodates both of them.
Suzuki & Co. (Kazuo Kono, 2008)
This is a great comedic short about a desperate job seeker who joins the one-man team behind the titular internet auction company. Both funny and wise, it reveals hidden truths about the business of providing (seemingly) useless stuff and a philosophical perspective on consumer culture.
Inside Kobayashi Hall, where all of the films were screened
Freeter’s Distress (Hiroki Iwabuchi, 2007)
I was really looking forward to seeing this film, and it certainly didn’t disappoint. Freeter’s Distress is an onscreen account of Iwabuchi’s experiences as a part-time worker at a Canon plant who is trapped in a state of near poverty. Filming with his handheld camcorder, he talks to friends and acquaintances about the challenges of finding full-time employment and making progress in the world and at certain points addresses the larger political and social dimensions of his situation. For the most part, though, his film remains fairly intimate as it gives the first-person documentation of a life constantly spent striving for survival. We see what Iwabuchi sees as he rides his bike, journeys to Tokyo, tries to find places to sleep in the city until morning (at one point, waiting until noon, when he gets paid) and, in the final portion of the film, walks and stays awake through a night of pouring rain until he reaches the ocean. The film ends abruptly, but there is good reason for this: Iwabuchi himself is left facing a void of uncertainty at that point in his life, so why shouldn’t the audience share that experience? Such an ending is a better and more logical choice than a summative epilogue (as so many documentaries bear), and makes it clear that Freeter’s Distress is a slice of (a) life in the purest sense. If nothing else, it’ll make you want to know how Iwabuchi has fared beyond the film’s events.
emerger (Aki Sato, 2008)
Telling the story of a woman adorned with casts on her neck and leg who is looking for casual sex and a recently spurned gay man, the 42 minute-long emerger displays a rough, raw quality that suits its two emotionally damaged main characters.
Bunny in Hovel (Mayumi Yabe)
This dark, moody film dwells on a destructive family living in the Japanese backwoods. Returning to the house after three years, the mother’s son at first offers the possibility of hope, but isn’t the crusading hero that some viewers may mistake him for – the film is, to its credit, too deeply set in grim reality for a contrivance like that.
Csikspost (Yumiko Beppu, 2009)
Csikspost is a fun, sometimes downright goofy short about the simple pleasures of summer and childhood alike. The main character is the eight year-old Mina (charmingly played by Marina Kawamura), who strives to convince a young fruit vendor to marry her single Dad. Maintaining a great sense of humor, the film contains a few touches that certainly suggest a Wes Anderson influence.
Arungaku (Tomohisa Takashi, 2009)
This concert film was shown with four short works by its subject, the video artist and composer Takagi Masakatsu. Seen together, they certainly convinced me that he is quite the talented individual. His films are unfathomably beautiful spectacles of shape, color and motion that often simulate the texture of paintings. Then there’s the documentary, which showcases his aurally mesmerizing musical work and, simply, the creative process of making music. In the brief segments outside of the concert, Masakatsu is shown as a cheerful, animated person who takes genuine pleasure in what he does and strives to share that joy in all of his art. Thanks to this film, I’ll definitely be hunting for some of his albums over the next few weeks.
Here is Girls, one of his videos (with his own music):
Maledict Car (Kosai Sekine, 2008)
This music video for the band Jemapur consists of a kaleidoscopic stream of imagery reminiscent of Michel Gondry’s work. Here's the entire video:
Thunderfish (Touru Hano, 2005)
With hints of horror and noir, Thunderfish was easily the most genre-influenced film to be shown at Shinsedai. While telling the story of a photojournalist who investigates the prostitution trade and rural legends of Cantella Island, the film also sets out to explore themes such as traditional beliefs and how they clash with contemporary culture (it is set in the 1950s, but the island’s inhabitants more closely adhere to a 1930s way of living). Thunderfish maintains a great atmospheric quality throughout its duration that is primarily owed to Tetsushiro Kato’s cinematography, which perfectly evokes the stifling humidity of the island and uses a vivid palette of saturated greens and blues.
Me with "Thunderfish" actress Junko Kimoto
Vortex & Others (Yoshihiro Ito, 2001-2008)
This is a marvelous collection of short films that truly revel in visual and narrative creativity. Right from the first moments of the first film, Wife’s Knife (in which a man is stricken with horror and fear towards his meek, seemingly harmless wife), it’s clear that Ito is unafraid to venture into the realm of the bizarre – in fact, it’s more than likely that he knows that’s where the best ideas often lie in hiding. All five of these films (being Wife’s Knife, Imaginary Lines, Non-Intervention Game, Plum Double Suicide and Vortex) have something different to offer, and can be described in three adjectives: fascinating, fun and funny.
Jasper Sharp (left) with Yoshihiro Ito (right) in the Q&A discussion for "Vortex & Others"
Now I… (Yasutomo Chikuma, 2007)
Now I… is the first feature film by Yasutomo Chikuma, who maxed out his credit card and served as producer, writer, director and lead actor. He stars as Satoru, an incredibly withdrawn young man who is pushed to interact with the outside world after he is given a job at a winery. The film uses a minimal approach to clearly reflect the claustrophobic viewpoint of the antisocial Satoru. Besides being a capable filmmaker, Chikuma also proves his talent as an actor, especially since he was present for discussions after the screening and, thankfully, turned out to be a much more communicative and cheerful guy than his on-screen protagonist.
The Rule of Dreams (Naoyuki Tsuji, 1995)
Evocative of Maya Deren’s Meshes of the Afternoon and made with low-tech means (charcoal sketches that leave shadow-like trails as they “move” across their paper backdrops), this animated short is mystifying in its surreal images and the imaginative way in which they are created onscreen.
The Trains (Takahiro Hirata, 2005)
A fun and inventive short that will certainly make me think differently about passing trains.
Girl Sparks (Yuya Ishii, 2007)
I couldn’t imagine a more well-chosen pick for the closing film for Shinsedai than this one, which drew plenty of laughs from beginning to end. It provides an account of the strange and frustrating life of teenager Saeko who must contend with her cross-dressing father (who, he explains, also wants to be a mother to her), the assortment of odd boarders he takes into their home, the isolated rural town in which she lives and the rockets that constantly soar through the sky above her.
For more reports on the Shinsedai Cinema Festival, please visit the Toronto J-Film Pow-Wow here, here and here.
With both the Toronto After Dark Film Festival and, of course, the Toronto International Film Festival, the end of summer/start of fall period has always been a busy one for film lovers whether they already live in Toronto or are willing to make the trip to sate their cinematic appetites. Well, now there's one more attraction that looks like it's going to be a real treat for those same adventurous viewers: the Shinsedai Cinema Festival, which is being curated by Midnight Eye co-founder Jasper Sharp and my friend Chris MaGee, founder of the Toronto J-Film Pow-Wow. The Shinsedai Festival will be taking place from August 21st to 23rd at the Canadian Japanese Culture Centre and focusing exclusively on a diverse selection of new films from emerging Japanese filmmakers (some of whom will be in attendance to present and discuss their films; see the full list of attendees here and here).
A look through the list of films will tell you that the festival will be featuring quite an intriguing mix to choose from. While I'll be setting out to catch most (if not all) of the featured films, here's a quick "Top Five" list of the ones that I'm the most curious about.
1) Freeter's Distress (Hiroki Iwabuchi, 2007)
This film provides a first-person account of the life and trials of the 23 year-old Hiroki Iwabuchi's life as a "freeter" - an educated young person who is trapped in the world of part-time employment. While it looks like an informative watch, Freeter's Distress is sure to be so much more, especially because of its "confessional" quality (acting as both director and subject, Iwabuchi simply picked up a camcorder and recorded the details of his day-to-day life - and ended up with an entire 67-minute film!).
Right off the heels of Freeter's Distress, here's a fictional film that's sure to have its share of similarities and differences with Iwabuchi's film alike. Starring director Chikuma (who made the film on a shoestring budget that sent him into the all-too familiar territory of independent filmmakers: credit card debt), it details the experiences of a young man who must make his way through the world without proper education, work experience or his mother, whose death initiates a new chapter in his life.
3) Thunderfish (Raigyo) (Touru Hano, 2005)
While this film looks like the most genre-influenced selection in the Shinsedai Festival, even it sounds like a refreshingly unique work to get lost in. Touru Hano's film plunges a journalist into a mystery involving Cantella Island, a missing photographer, a local brothel and an old legend surrounding a giant fish known as the raigyo. Color me curious!
4) Peaches (Bunny in Hovel, emerger & Csikspost)
The very notion of the Peaches filmmaking collective has me very interested in what they have to offer, since they promote and practice both do-it-yourself filmmaking (controlling such aspects of their films as distribution and screenings) and women getting behind the cameras themselves (Peaches is currently comprised of nine young female directors). Shinsedai will be featuring three of the group's films: Mayumi Yabe's Bunny in Hovel (2009), about a young son's return to an abusive household, Aki Sato's emerger (2008), about two kindred spirits and their (mis)adventures in love, and Yumiko Beppu's Csikspost (2009), a summertime tale about a little girl, a single father and one black hole.
5) Vortex & Others: Five Short Films by Yoshihiro Ito (2001-2008)
This series of shorts looks like a treasure trove of some of the stuff that makes Japanese cinema so appealing: unconventional stories, off-the-wall inventiveness, an eccentric, elusive mix of horror and humor. Written, shot and directed by Yoshihiro Ito, these five films are sure to remind many of the works of such directors as David Lynch and Seijun Suzuki and offer a surreal and exciting diversion from what one usually expects from the mainstream.
Read a review of the five Ito films to be featured here.
Subtitle Literate offers film reviews, notes, original photography, interesting links and miscellaneous bits of news from Marc Saint-Cyr, writer, cinema enthusiast, and creative spirit.
Marc Saint-Cyr studied cinema and history at the University of Toronto. His writing has appeared in publications as varied as the Directory of World Cinema: France, volumes 1-3 of the Directory of World Cinema: Japan, CineAction, Midnight Eye, Row Three, Senses of Cinema, Toronto Film Scene, the Toronto J-Film Pow-Wow, and the VCinema Podcast and Blog. He lives in Toronto with his girlfriend Adrie Marie and their cat Poobaby.
Film Books Where You Will Find Some Of My Writing:
I contributed an essay on the French New Wave and a few film reviews to this book on French cinema. Edited by Charlie Michael and Tim Palmer, it will be out in March 2013.
The second book of essays and reviews on Japanese film, edited by John Berra, is in stores now.
This book, edited by J-Film Pow-Wow founder Chris MaGee, looks at Tokyo's legacy on film and includes essays and pieces on specific areas of the city that have appeared onscreen.
A volume of film reviews and essays on Japanese cinema, edited by John Berra.
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