Zen (Japan, 2009)

'Zen' Buddhist teacher Dogen Zenji is a very important religious person during the Kamakura period, 750 years ago. After his mother died, he decides to move to China and settle as a Buddhist teacher. One bright morning, enlightened, Zenji returns to Japan as a devoted evangelist of the 'new' Buddhism. However, this new form of Buddhism is not accepted in all communities.

Zen is a very good film for history buffs, and should be seen by anyone who has so much as a fleeting interest in Buddhism. It doesn't at all feel like the dry pages from a schoolbook but way more engrossing and inviting, with beautiful scenery to boot. The actors performances are consistently believable and it never goes overboard with the story, but basically chronicles one man's ambition and journey through the land with his teachings, which somehow never gets boring but only more interesting.    

Genre: Biography/Drama

Sway (Japan, 2006)

On the anniversary of the death of the mother of a hip and happening Tokyo-based photographer, the son returns to his hometown for the funeral. What follows is a return to the past that is more than just a trek home. Old relationships, love, conflicts and memories resurface and collide. Apparently, old perspectives don't wither.

I thought I knew somewhat what Sway was going to be about. The beginning of it seem fairly standard; a man from the big city (played by Joe Odagiri) goes home to his rural roots and long past memories gets uprooted, but then the film does a 180 and what follows is a court room drama where you're not sure of what happened and two brothers perspectives are up against each other. Slow-paced, but still a recommended watch about the fragility of life.

Genre: Drama/Crime

Moonlit Winter (South Korea, 2019)

Yoon-Hee lives with her teenage daughter Sae-Bom. On a winter day, Yoon-Hee receives a letter from Otaru, Japan. Sae-Bom accidentally reads the letter and learns about her mother's first love, which she never spoke about before.

Moonlit Winter starts out like many films before it, but it still gets its hooks in you. Despite South Korea's yearning for sappy melodrama the film avoids desperate attempts at making the viewers cry, yet it has a strong emotional impact and towards the end it culminated beautifully accompanied by a lovely score. Great performances and a director who knew exactly how to pace the film makes it a great watch, not something that will blow you away but every once in a while you see a drama that makes it seem so simple to make you care abut the characters and that's always what I'm looking for. 

Genre: Drama/Romance

Ring 0: Birthday (Japan, 2000)

The prequel to the horror film Ringu, this movie provides the background story of how Sadako later became the vengeful murdering spirit. The story starts with her as a shy, somewhat withdrawn, college student who nonetheless gets involved in a drama club. The director thinks she has talent, but some of the other performers start to get jealous of the attention he gives her. Meanwhile, a reporter investigating Sadako's spiritualist mother thinks there's something very suspicious about the young woman, and arrives on campus to confront Sadako.

While Ring 0 seems to have the biggest chance of failure of the Ring-sequels it's actually one of the more fleshed out ones. I've read it was panned at release and deemed a "mediocre Carrie-ripoff", and while one could certainly see the similarities between the two I enjoyed Birthday for what it was, a prequel with less spooks but an engaging story which slowly evolved into something more sinister. It's based on one of the stories by original Ringu author Koji Suzuki, making it a huge piece of the backstory puzzle, it looks great with slow camera movements mixed with muted colors capturing an almost nostalgic 90's look. 

More story-based than you'd hope out of a Ring film, but still ambitious and a noticeable competent director behind the camera. Maybe it's a guilty pleasure, but still, I liked the film and doesn't see the reason to bash it for not having Sadako constantly coming through the TV-screen.

Genre: Horror/Thriller

Ring 2 (Japan, 1999)

In this sequel to Ringu (1998), Mai Takano is trying to learn more about the death of her professor, Ryûji. She soon hears stories about a videotape haunted by the spirit of a girl named Sadako, who died many years earlier. Supposedly, anyone watching the tape will die of fright exactly one week later. After some investigating, she learns that Ryûji's son, Yôichi, is developing the same psychic powers that Sadako had when she was alive. Mai must now find some way to keep Yôichi and herself from becoming Sadako's next victims.

You'd think it would be a horrible move to make a sequel to such a big horror milestone as Ringu, and while Ring 2 doesn't live up to high expectations following such a great horror film it does however fill in some gaps and delivers a subtle feeling of dread. It has all the right ingredients; characters that doesn't feel shoehorned in for the sake of the plot, a spooky and unnerving soundtrack (the intro music sets the mood perfectly), no desperate tries to shock the viewers with gore/jump-scares but instead keeps a steady and dark atmosphere throughout the film. It's not as memorable as the first installment but still worth a watch if the Ringu itch didn't end after the first film. 

Genre: Horror/Mystery

Have You Seen the Barefoot God? (Japan, 1986)

Shigeru, an aspiring hobby painter, adores the seemingly unapproachable flutist Haruyo Kikuchi from afar, and secretly paints her portrait for a national contest.

Have You Seen the Barefoot God? sounds far from original on paper; a triangle teen drama between friends, and the girl is caught in the middle, although you'd be missing out if this film were to pass you by. It's done with great respect to the script, the director really squeezes out the emotions out of his actors. I'm also strangely fond of films which takes place in the northern part of Japan, probably because the Tokyo/Kanto area is overrepresented in Japanese film.  

Genre: Drama

Skin of Roses (Japan, 1978)

Ritsuko is a popular madame of a nightclub. But, ever since her gangster husband got caught and imprisoned, her life has taken a turn for the worst. Now, in order to pay off his debts to a yakuza loan shark, Lady Ritsuko is forced to engage in private sex shows for the VIP clientele. After a year of these special shows, the loan is almost paid off.

Skin of Roses might be a hard sell for people uninitiated in the pinku eiga genre (pink film), but compared to many other entries in that field it feels more accessible and looks great too. It does venture into being torture porn as time goes on, but by then it had my full attention and induces feelings of painful sympathy rather than disregard. 

Like I said, for being a pink film it's very ambitious and a strong cinematic vision is present during the whole film. I mean, the director of the film, Katsuhiko Fuji, previously made films with titles such as Female Doctor: Flesh Slave, Rape Climax: Skinning and Horny Working Girl: From 5 to 9, so it's understandable if expectations aren't soaring, but in this particularly outlandish genre it's a welcomed, although sometimes uncomfortable experience.

Genre: Romance/Drama

In Search of Ozu (US/Japan, 2018)

 

In this documentary, filmmaker Daniel Raim delves into Yasujiro Ozu's remarkable late work, in which the master made the leap from black and white to color. In his stirring tribute to the great filmmaker, Raim examines Ozu's life and work through archival treasures such as his diary and the red teakettle from the family drama "Equinox Flower" (1958); sits down with Ozu's nephew and the producer of the director's gently elegiac final film, "An Autumn Afternoon" (1962); and interweaves many scenes and images from the vibrant and humane films with which the director capped his career.

If you're a fan of Ozu, you really should set aside some short quality time (it's only 46min long) to watch this documentary, and learn a lot more about one of the most important directors in history. We're treated to a treasure trove of still existing objects which have appeared in Ozu's films so many years ago, and his family gives some insight into what motivated Ozu to make the kind of family focused films he was best known for. The fact that he stayed single and never married was news to me, and people speculates wether it's because he saw too many failed marriages around him to tie the know himself. I also love the fact that he personally designed a lot of the sets and everything that went into the scenes themselves, like bar signs and posters, etc. He also seemed to be a big joker and drank a lot of sake.

A short and sweet, really informative look at the man behind many films that will be remembered forever.

Genre: Documentary

Mothra (Japan, 1961)

Shipwreck survivors are found on Beiru Island, which was previously used for atomic tests. The interior is amazingly free of radiation effects, and they believe that they were protected by a special juice that was given to them by the island's residents. A joint expedition of Rolisican and Japanese scientists explores Beiru and discovers many curious things, including two women only one foot high. Unscrupulous expedition leader Clark Nelson abducts the women and puts them in a vaudeville show. But their sweet singing contains a telepathic cry for help to Mothra, a gigantic moth that is worshiped as a deity by the island people.

Mothra is the first film to feature the sort of good kaiju that also appeared in the Godzilla-universe. Directed by Ishiro Honda, the co-creator of Godzilla and lifelong friend of Akira Kurosawa, Mothra featured the most detailed miniature work of any Toho film to that point. One of the biggest joys is seeing the city get destroyed by an angry moth, with charmingly obvious toy tanks and humans getting blown away by Mothra's gusts of wind. The destruction is far more enjoyable to watch than any of the latest billion-dollar remakes from the US, which is kind of a sad thought that CGI-films are the way to go nowadays.

 

Genre: Fantasy/Sci-Fi

Gonza the Spearman (Japan, 1986)

The tragic story of Gonza, a handsome ladies man, set in the Tokagawa Period, a time in which appearences are very important. Gonza competes with Bannojo for the honor to perform the tea ceremony to celebrate the birth of an heir to the lord of their clan. To see the sacred tea scrolls Gonza promises to marry the daughter of the family which possesses them, even though he is unofficially engaged to another. When studying the scrolls with Osai, the mother of the house, Bannajo sneaks into the house and steals their obis and runs through the town proclaiming the two as adulterers.

With Gonza the Spearman, director Masahiro Shinodo (Double Suicide, Ballad of Orin) made yet another classic Edo-period film. He has a knack for telling stories which doesn't always revolve around sword fighting, though he doesn't shy away from showing the bloodshed. Gonza the Spearman is a great story where deceit and lies gets in the way of better judgement. It's a beautifully shot film and I was constantly reminded of the outstanding cinematography, especially the soft and warm lighting. Shinodo rarely moves the camera and the many, many static shots feels like a lovingly homage to Yasujiro Ozu. 

Genre: Drama

Mothers (South Korea, 2017)

Hyo Jin is a 32-year-old woman. Two years ago, her husband died in an accident. Her husband has a 16-year-old son, Jong Wook, from a previous marriage. One day, Hyo Jin begins to live with Jong Wook.

It's relieving to see a film where the kid is not the scum of the earth, which seems to always be the case when a teenager arrives, but rather someone who develops through the story and becomes sympathetic. Mothers doesn't exactly innovate the drama genre but it's well-written and packs some great performances, while also avoiding being too melodramatic for its own good. 

Genre: Drama

The Fall of Ako Castle (Japan, 1978)

This is the story of "The Forty-Seven Ronin." Based on historical events in 1701-2, the movie tells the tale of the Asano clan's downfall and the revenge of its former samurai on the perpetrator of the catastrophe.

A samurai film based on the forty-seven ronin legend by Kinji Fukasaku? I'm in. Full of political intrigue while never getting stale, The Fall of Ako Castle is an epic story of vengeance and honor, and as you'd think Fukasaku sprinkles the high stakes drama with his own style of chaotic combat. 

Genre: Action/Adventure/Drama

Warning from Space (Japan, 1956)

UFOs are seen around Tokyo. Because they look like giant starfish the aliens cannot approach us without creating panic. Hence one of them sacrifices itself and takes the form of a popular female singer. It/she warns mankind that a meteor will crash on Earth. While the approaching meteor causes hotter and hotter weather, mankind runs and builds a last-chance anti-meteor weapon.

Warning from Space is nothing less than Japan's first colored sci-fi movie, complete with ridiculous alien costumes and miniature towns getting blown up. The special effects team would later go on to make the Gamera monster movies in the 60's. Warning from Space was one of several that got made after the success of Godzilla (1954), and also relied heavily on the theme of atomic power. It reminded me of The Day the Earth Stood Still (1951) with how the aliens doesn't show up just to wipe us out but to help us save ourselves. 

A fun little film to have seen, nothing too serious, just some helpful star creatures that really don't want to see Earth get smashed by a meteor.

Genre: Sci-Fi 

Melancholic (Japan, 2018)

Kazuhiko, a graduate of a prestigious university, wasn't enjoying his life, until he takes a job at a bathhouse. Then he discovers that the baths are used as a space for killing people after closing hours.

Melancholic tells the compelling story of how a somewhat socially awkward man, Kazuhiko, gets involuntarily thrown into the belly of the Yakuza killing business. It's a working blend of dark comedy and tense atmosphere, with some small amounts of well-directed action in-between. All while also following the believable, bittersweet love story between Kazuhiko and Yuri, a young woman who frequents the bathhouse.

The film stands out due to the original approach it has to the Yakuza genre by not dealing with warring families, but of how to take care of the mess after the killing is done, and the director makes some good decisions by focusing more on the moral struggles of the characters rather than just tryin to make a shallow, bloody spinoff Yakuza flick. 

Genre: Crime/Drama

Gonjiam: Haunted Asylum (South Korea, 2018)

The crew of a horror web series travels to an abandoned asylum for a live broadcast. It soon encounters much more than expected as it moves deeper inside the nightmarish old building.

Gonjiam is quite far from being original, even its title is so over-used it's almost invisible. That being said, it's actually not bad. Sure, the director basically rips off classic horror films we've all seen before, The Blair Witch Project (1999) being the most blatant, but with a more modern spin on the story with a live-streaming thing going on. Even though it's stuff we have seen before the film creates a haunting atmosphere and if you're going in not expecting the scariest film of the year there's definitely some great moments in here. 

Genre: Horror

Graveyard of Honor (Japan, 1975)

A look at the life of renegade yakuza, Rikio Ishikawa, particularly the years from 1946 to 1950 when his violent antics get him in trouble with his own clan, Kawada, and then with the clan of his protector, Kozaburo Imai. In these years, he can rely on Chieko, a young Tokyo courtesan who gives him shelter. He's banished to Osaka, where he picks up a drug habit. Through it all, he keeps his friends and enemies off balance with unpredictable behavior - and he seems indestructible.

Kinji Fukasaku's (Battle Royale) Graveyard of Honor is one of the must-see masterpieces of the yakuza cinema, and an ultra-violent journey through Osaka's underworld of misery and power struggles. Fukasaku makes it feel almost like a documentary in how the film is like a chronicle of one disturbed man's life, and how he's sort of like an anti-hero. I love how wild the film-style is, with different filters popping in and out and how in every fight it's like the camera man is scared senseless and stumbles around while trying to shoot the film. 

The film had a remake in 2002 by Takashi Miike and while both films are fantastic, the 1975 version has a realness to it which in my opinion is far more effective than having more violence. 

Genre: Action/Crime

Inferno of Torture (Japan, 1969)

High demand for tattooed geisha generates an entire industry for their "production". Europeans pay more for tattooed beauties. Against this background, and considering the gorgeous tattooed women develop the history of confrontation between two highly skilled masters of tattoo.

You just can't have the romance and the happy-go-lucky films without there being  a polar opposite, a negative to the positive. Inferno of Torture is a torture-porn blood party, with naked bodies covered with tattoos getting suspended and cut up. There's a story here somewhere under the humiliation of young, beautiful women but the dark subject matter definitely has the center stage. 

Directed by Terri Ishii who has been called the Godfather of J-sploitation, a genre of films mostly best watched in good company due to how ridiculous they are, though Inferno has other things going for it than just the gore. The Eastmancolor looks amazing and fits the theme perfectly with red, glowing blood flowing down the glistening skin. Obviously not for everyone but in its own sick, deranged genre it's a gem.

  

Genre: Crime/Drama/Horror

Parasite: A Graphic Novel in Storyboards (2020)

Discover the illustrations that inspired the historic, OSCAR®-winning film’s every shot in this graphic novel drawn by Director Bong Joon Ho himself.

If you're huge into the making of films you love, you should consider picking up this book drawn by Bong Joon-ho, detailing all the storyboarding he did for his film Parasite. Many of the pages contains little annotations in the margins like "Rubber ball?" when considering the safety of using a knife and "Fruits?" when wondering what should be inside of a bowl in the kitchen.

Pretty much only for the die-hard fans of the film but very informative in showing exactly how a masterfully crafted film jumps from the page to the big screen.

The Insect Woman (Japan, 1963)

Tome is born into poverty in rural Japan, in the late 1910s. Chuji, her father, dotes on her; her mother is less faithful. Tome becomes a neighbor's mistress, works at his mill as World War II rages, and has a daughter. After an affair with a mill supervisor, Tome goes to Tokyo to seek her fortune. Tome's a maid at a brothel, learns trade from the madam, enjoys the protection of a businessman whose mistress she becomes, and is soon herself the boss. As Chuji ages and Nobuko grows up with her own ideas, can Tome's self-preserving schemes provide continued comfort?

With The Insect Woman, Shohei Imamura (The Eel, Black Rain) let's us follow a woman on a not so uplifting journey through life. We really develop sympathy for her, but also see her in a different light when she goes through some rough periods of time. Tome goes from innocent youth to hardened woman in charge. Imamura got the title from the idea of an insect that keeps making the same mistake over and over again yet doesn't give up, and like the insect, Tome always finds herself in another dark place but keeps on going. 

Genre: Drama

Kakera: A Piece of Our Life (Japan, 2009)

The story of the relationship between a college student whose relationship with her boyfriend is going nowhere and a bisexual medical artist who makes prosthetic body parts.

It's always liberating with films like Kakera which doesn't feel the need to limit itself to heteronormativity. I've heard that the Japanese are decades behind in terms of sexuality and stigma concerning relationships outside the norm. 

Director Momoko Ando is greatly aware of the prejudice in our society towards different kinds of sexual orientations and mirrors that with characters you'd be happy to slap in the face and one in particular raises some problematic issues due to how he's allowed to continue, but that trash bag aside, Kakera portrays two women with different experiences who're discovering  a strong attraction between themselves. 

Genre: Drama