Eiga Night

Happy Halloween! Reflecting this spooky day, Aruba and Chris tackle the most famous examples of J-Horror to ever grace the cinema, Nakata Hideo's Ringu (1998). We chat about the film's legacy, its theme of technophobia, the questionable gender politics, its updating of Japanese folk tradition, and whether or not it remains affective today. This episode is dedicated to the memory of Takeuchi Yūko (1980-2020). If you liked what you heard, make sure to share it around on social media and rate us on your podcatcher of choice. Check our official website for a full bibliography of this episodes research. Twitter: https://twitter.com/EigaNight Website: https://eiganightpodcast.wordpress.com/ Facebook: https://www.facebook.com/pages/category/Radio-Station/Eiga-Night-Podcast-1919095905057689/

It's classic week, and Aruba and Chris take on the Master Ozu Yasujiro with one of his less exalted features, Brothers and Sisters of the Toda Family (1941). We discuss its reputation as a National Policy film, its strange place in Ozu's filmography, how it attributed to the development of his signature style, its critical portrayal of class in a family-centric society, and whether or not it is a comedy. If you liked what you heard, make sure to share it around on social media and rate us on your podcatcher of choice. Twitter: https://twitter.com/EigaNight Website: https://eiganightpodcast.wordpress.com/ Facebook: https://www.facebook.com/pages/category/Radio-Station/Eiga-Night-Podcast-1919095905057689/

The Toronto International Film Festival had its first ever online festival, and Aruba and Chris checked out what contemporary Japanese cinema was being offered this year. We took a look at the latest offerings from Kawase Naomi with True Mothers, and Miwa Nishikawa with Under the Open Sky (kind of). Make sure to subscribe, share, and give a rating to us to help us grow if you liked the conversation.

Venturing back into Sono's films after a tiny hiatus, Chris rambles about the eclectic director's New York based crime drama, Hazard. If you like the episode, make sure to rate it wherever you get your podcasts and share it around to help us grow. Also, make sure follow the Sono themed twitter account (@sion_film) mentioned in the episode

JAPAN CUTS is a New York based film festival hosted by the Japan Society dedicated to celebrating new Japanese film. Their 14th edition is currently streaming online from July 17 -30th. Deputy director of film for the Japan Society and programmer/organizer for JAPAN CUTS Kazu Watanabe sat down with Chris to talk about this year's festival and how it has adapted to a new online format due to COVID-19. Tickets are available at https://japancuts.japansociety.org/ Follow us on social media and share the episode if you enjoyed listening to it.

For the second installment of the series dedicated to exploring Sono Sion's eclectic filmography, Chris rambles a bit about the raunchy fun of The Virgin Psychics (映画 みんな!エスパーだよ!, 2015). If you like the episode, make sure to rate it wherever you get your podcasts and share it around to help us grow.

From the utterly mind numbing existence of quarantine comes a new Eiga Night side series! A personal exploration of one of Japan's most audacious filmmakers work, Solo on Sono is Chris exploring the films of maverick iconoclast (and his personal favourite director) Sono Sion. For the inaugural episode, Chris watches Sono's mature meditation on obsession and youthful abandon, Balloon Club, Afterwards.

Alright varmints, from our self-imposed quarantines Aruba and Chris breakthrough the monotony to say "Howdy" and "wtf" to this weeks episode, Miike Takashi's Sukiyaki Western Django (2007). We talk the film's legacy in a long continuation of cross-cultural exchange of the Western film between America and Japan, the oddball humour of its phonetic English script and self-aware humour, why Quentin Tarantino is in it, and what is the connection between this film and Tyler Perry's Madea films. If you enjoyed our little hootenanny, consider giving us a share and a good rating wherever you get your podcasts.

Checking in from our quarantines, Aruba and Chris correct the mistake made by the Academy when they snubbed the legendary Joe Shishido (1933 - 2020) from their In Memoriam montage with a lively discussion of his best work as an actor, Suzuki Seijun's Branded to Kill (1967). We discuss his intense qualities as an actor, Suzuki's esoteric style and aestheticized use of violence, the film's more peculiar plot points, and how it's third act becomes a little too real in a COVID-19 world. This episode is dedicated to the memory of Joe Shishido. If you liked the episode, rate it wherever you get your podcasts and spread it around to help us grow. Wash your hands, stay indoors, all that good stuff/

On this week's episode, we lace up our gloves and punch our lives back into shape with Take Masaharu's 100 Yen Love. We talk the inimitable acting talent of Ando Sakura, the depressing nature of Japan's convenience store culture, the difficulty in "uglying" up your main actress, and the strange romance at the heart of this boxing dramedy. Plus, whether or not we would let Ando Sakura punch us in the face (the answer is yes). If you liked what you heard please consider giving us a like, share, follow and good rating to help us reach a wider audience.

This week for our classics episode, Chris and Aruba watch tradition clash with modern times in Kinoshita Keisuke's Carmen Comes Home (1951). We talk this film's legacy as the first post-war colour film ever produced, the tonal clash of its musical numbers, the complex, nuanced portrayal of post-war feminine agency and independence at its core, and how much we just love the illustrious, force of personality that is Takamine Hideko's portrayal of the firebrand Lily Carmen. If you liked what you heard please consider giving us a like, share, follow and good rating to help us reach a wider audience.

In our latest episode, Chris and the returning Aruba ramble on about one of the most important and influential anime films of all time, Otomo Katsuhiro's Akira (1988). While trying to sort through the visceral affect of watching this film, they briefly touch on the films legacy, its historical context and relevance, their memories of seeing it for the first time, its status as a qualitative turning point in the history of anime, its gorgeous design and benchmark-setting animation, and its reputation as the large-scale introduction of anime to the west. If you liked what you heard please consider giving us a like, share, follow and good rating to help us reach a wider audience.

We return to our exploration of the absolute classics with one of the most crushingly human stories of mortality and seizing life in the face of untimely death, Kurosawa Akira's Ikiru (1952). Joined this time by special guest Anthony Moss, we get into Kurosawa's masterpiece and its philosophy of self-actualization and fulfillment, discuss the range and emotional power of Shimura Takashi's performance, pick apart Kurosawa's bitter resentment of stringent bureaucracy, and see what this film has taught us about our own perceptions of life and death. Plus, can an English language remake be possible without being as bad as The Bucket List. Make sure to check Anthony Moss's YouTube Channel at: https://www.youtube.com/channel/UCTo7zMyvczWyTUsWkYZHhTQ And his podcast I Went to Film School at: https://podcasts.apple.com/ca/podcast/i-went-to-film-school/id1478369436 If you liked the show, make sure to share and subscribe as well as dropping us a good rating wherever you get your podcasts.

After our summer hiatus, we are back with a special episode on one of the most audacious, provocative and downright gorgeous anime films of the 1990s, Ikuhara Kunihiko's Adolescence of Utena (1999). Joined by special guest Nikita Helewa, we chat about the film's status as a feminist text, a ostentatious directorial statement, a self-critical series ender, an unending source of eye candy, and a timeless meditation on gender, sexuality and transition...with cars. We also wonder why Chris cannot stop talking about Evangelion?

For our triumphant return from our LONG unplanned break, Aruba and Chris question what it means to be a family with Koreeda Hirokazu's Palme D'or winning masterpiece Shoplifters (2018). We chat about Koreeda's career as the critical darling of the contemporary period, analyze the complex, nuanced morality at work within this makeshift familial unit, and absolutely gush over how great the cast is, especially the wonderful Sakura Ando. And maybe even throw some unnecessary shade at Alfonso Cuaron's Roma (2018)? Find out on our latest episode! This episode is dedicated to the memory of actress Kirin Kiki (Hatsue Shibata).

In honor of the Halloween season, we are breaking down the jhorror phenomenon in an extensive history lesson. From the beginnings of horror in Japan in the form of folklore and mythology, to the postwar boom of ghost story cinema, all the way up to the global saturation in the 90s and 2000s, we tried our hardest to give you a suitable introduction to one of the most important developments in Japanese cinema...ever? If you liked the episode, make sure to share it around to help us out.

Chris flies solo once more! In lieu of the much awaited new episode, Chris has thrown together a quickie episode of live action anime reviews to tide you over till our hosts can get back together in studio. He mumbles reviews of Jojo's Bizarre Adventure: Diamond is Unbreakable Part 1, Fullmetal Alchemist, BLEACH, and Tokyo Ghoul in an incoherent, off the cuff manner which is probably terrible. If you enjoyed, please consider liking and sharing to help us grow.

On this weeks episode, Aruba and Chris venture into the sleazy Gion district to talk Kenji Mizoguchi's early masterpiece and seminal contribution to the industry, Sisters of the Gion (1936). We get into Mizoguchi as one of the "Masters of Japanese Cinema," the progressive politics on display at the time, the prevalent "woman question" of the Japanese film, and the eternal feminine struggle of tradition vs. desire.

In the latest episode of Eiga Night, Chris and Aruba walk the catwalk against their wills and probe the prominent fashion culture of Japan with the manga adaptation Paradise Kiss. We discuss the work of Ai Yazawa and the intersection between Josei manga and fashion, why George Koizumi sucks so hard, the unfathomable popularity of this property, how films get made in Japan in the contemporary sphere, and more. If you liked what you heard please consider giving us a like and share, and make sure to follow us on all the social media accounts.

In this week’s episode, Chris and the returning Aruba wander the arid deserts of entrapment and identity with Hiroshi Teshigahara’s Woman in the Dunes (1964). They talk about the influential Japanese New Wave and Teshigahara’s place in it, the themes of identity and obligation within an uncaring society, whether or not this can be considered a love story, the crossover appeal of this important cult hit, and of course SAAAAAAANNNNNNNDDDDDD!!! If you enjoyed please give a like or share and make sure to follow us on all the social media sites and help us grow.

Due to a scheduling conflict between our intrepid hosts, Chris is flying solo this week with a mini bonus episode about all the Japanese films he covered at the New York Asian Film Festival and Japan Cuts. This coverage was done for Film Pulse (https://filmpulse.net/) and you can check out all his reviews there. We will resume the regular episode format next week with an all new Japanese film to cover.

The debut episode of Eiga Night is here! On this episode Chris and Aruba are pitted against their classmates and friends in a desperate struggle to survive. It is Kinji Fukusaku's Battle Royale. We talk the controversy, the director's style, and wonder what would happen if we were put in the same position. Technical Issue: Chris' microphone is constantly blowing out through this conversation. We are sorry about that but we could not fix the problem in post, so do not listen on full volume. It's not like that for the entire episode, but it's most noticeable in the first five minutes so please bare with us. We are new to this and sorry