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Freddy 2022-04-21 09:02:04
The "chaos" of human nature
Akira Kurosawa is a legend, a piece of history, an embodiment of a personality, and he and his films have a simple power, always trying to tell about human nature. He will tell you the evil of human nature, and then, when you are suffering for it, tell you that human nature is also good. Just like...
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Tess 2022-03-27 09:01:06
opening point of view
The chaotic prelude is very charming. It seems to be hunting, but the focus is on Xiuhuyi. At the beginning, the hunters stood in the mountains, silent, and the camera switched between the long shot and the medium shot. No show tiger. Then the wild boar appeared, and the director switched his...

Mieko Harada
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Maude 2022-03-21 09:01:53
The #SIFF# restoration is so beautiful. Clouds, winds, grasslands, war horses, and Noh-like faces. Japanese King Lear is not only very Japanese, but still very much King Lear. "Here's Hell," as it turns out in "Range" (the last seen appropriation was Bruno Dumont's "P'tit Quinquin").
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Aletha 2022-03-28 09:01:03
#2019North Film Festival# A doomed tragedy, Akira Kurosawa integrated Shakespeare's plays into the background of his own country. In the tearing of a father and three sons, Kuang Ami, Hirayama, A Feng and even Hei Jin were all deeply portrayed. It's hell, but going mad and dying in troubled times is liberation. The three arrows are still broken together. Watching the Emperor's film on the big screen is really shocking, the colors are used incisively and vividly, and the dynamic beauty surging in the static state. It would be wonderful to have Tatsuya Nakadai and Hiroshi Abe play father and son in [Lear by the Seaside], and the two are really similar.
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Kyoami: In a mad world only the mad are sane.