Podcasts about Ozu

Corbin and Matt are joined by TYLER THEUS, a famous academic, to discuss "Still Life," a movie by a friend of the program who I have never said anything bad about, Jia Zhangke. Topics include: slow cinema, fiction/doc hybridization, the movie's relationship to neorealism, critical forms and aesthetic forms, hyper-mediated Mise-en-scène and the Three Gorges Dam. Watch Still Life here. Seriously, watch it, it's great.   Corbin reccomends an album, avaibale on album streaming services or at your local record shop. Tyler reccomends Passing Fancy, an Ozu movie. Matt reccomends Eternity's Pillar, available here. Next week, the boys take it to the limit one more time and discuss Michael Mann's Generational Male Frienship/Global Capitalism Epic MIAMI VICE. Watch it on Apple TV if you can stand to spend four bucks, it's looks GREAT there and kind of bad in other streaming locations. 

Minimale Ästhetik, universelle Themen, pillow shots und schwierige Familiengefüge. Ozu ist ein Monolith des Kinos. Wer als Regisseur*in was auf sich hält, sieht sich entweder als sein Nachkomme oder Feind. Und wie finden wir ihn so? Darüber sprechen Christian und Lucas mit David Wesemann im neuen Special. Das ist aber nur der Teaser, wenn ihr die ganze Folge hören wollt, dann unterstützt uns bitte auf https://steadyhq.com/cuts

Mike and Nick are joined by good friend, Jackie. The three dive into Robert Eggers' newest iteration of Nosferatu. They examine one of its predecessors and direct influences, Ingmar Bergman's Cries and Whispers. With Jackie's help, the gang dives into the nuance and experience of the films' colours, shadows, and psychosexuality. Find out why Mike thinks these are the same movie and which Ozu movie Cries and Whispers reminds Nick of.

Fünfter und letzter Film im Japanuary2025: TOKYO-GA von Wim Wenders ist eine Wallfahrt zum heiligen Ozu – einerseits mit Schwächen, andererseits mit großartigen Begegnungen und Interviews. Thomas hat im Podcast Lieblingsgast Lucas Barwenczik vor dem Mikrofon.Wim Wenders hat sich 1983 nach Japan aufgemacht – auf der Suche nach dem Tokio seines großen Regie-Idols Yasujiro Ozu. Dessen stille Filme mit klarer Form sind weltweit bekannt. Ozu beschäftigte sich stark mit Familienbeziehungen und den schwierigen Veränderungen Japans nach dem zweiten Weltkrieg. Mit Veränderungen hat Wenders in TOKYO-GA aber so seine Probleme: Er fremdelt unübersehbar mit dem Boom-Japan der 1980er Jahre – zu laut, zu bunt, zu modern, zu schnell, so gar nicht wie in Ozus Filmen. Dabei bleibt er überraschend oberflächlich, spricht nicht mit gleichaltrigen japanischen Kolleg:innen oder anderen Japanern.Aber er führt zwei beindruckende und berührende Interviews: mit Ozus Kameramann Yuharu Atsuta, der sein ganzes Berufsleben mit Ozu verbracht hat und Einblicke in Ozus Inszenierungsarbeit gibt – und mit Chishu Ryu, dem großartigen Schauspieler, der in fast allen Ozu-Filmen vor der Kamera stand und über die Maßen bescheiden ist. Allein für diese beiden Gespräche lohnt sich der Film. Im Podcast sprechen Lucas und Thomas unter anderem über Verehrung, Verklärung, Japan-Begeisterung, Wenders salbungsvolle Kommentare und Werner Herzogs beleidigte Landschaft.

Welcome to Multiverse News, Your source for Information about all your favorite fictional universes Reliable scooper Jeff Sneider claims Marvel Studios is actively looking for an actor to play T'Challa/The Black Panther, replacing the late Chadwick Boseman who passed away in 2020. According to Sneider, the studio's replacement of Boseman is only due to the fact that the MCU is working within the Multiverse currently. In related news, when asked during an interview about a dream role, Wicked star Cynthia Erivo said she would “really want to play Storm,” to “uncover how grand she is,”. Lastly, an OG villain is returning to the MCU, with Faran Tahir coming to the small screen to reprise the character of Raza, the leader of the so-called Ten Rings from 2008's Iron Man.  In some confirmed casting news, Rory McCann will replace the late Ray Stevenson as Baylan Skoll for Ahsoka season two. McCann is best known for playing The Hound in Game of Thrones, but his roster of work also includes Gladiator II, Hot Fuzz, Clash of the Titans, and more. Ahsoka is part of Dave Filoni and Jon Favreau's Mandoverse, and Filoni will return as showrunner for season two. Director Andy Muschietti let it be known why he thinks the 2023 DCEU movie The Flash, flopped. On Radio Tu's “La Baulera del Coso” show, Muschietti said the film didn't appeal to “all four quadrants” of moviegoers. The quadrants he's speaking of are men over 25, men under 25, women over 25, and women under 25. Muschietti also said anecdotally that in conversations with people he found they “just don't care about the Flash as a character…particularly the two female quadrants.” Colman Domingo has been cast in Edgar Wright's The Running Man and will star alongside Glen Powell, Josh Brolin, Karl Glusman, Katy O'Brian and Daniel Ezra. The film releases on November 7. Production on many Hollywood television and film projects has been suspended and events such as The Critic's Choice Awards, red carpet premieres, and The Academy Awards nominations have been postponed due to the LA area wildfires. Five-time WWE world champion Seth Rollins has confirmed he is not in upcoming MCU movie Captain America: Brave New World, saying his role was cut following extensive rewrites of the script and subsequent reshoots. Universal Pictures has updated the release date calendar for two animated properties. DreamWorks' Shrek 5 has been pushed back almost 6 months to December 23, 2026 and Minions 3 from Illumination is moving forward almost a year to take Shrek 5's original date of  July 1, 2026. Variety reported today that MCU screenwriting veteran Marcus McFeely originally turned the Russo Brothers down about writing for Secret Wars, even though he is the reason the directing duo is returning. However, the next day McFeely called the Russos back and said he was in after coming up with an idea for the film. Warner Brothers is bringing back The Puppy Bowl for its 21st installment this year, but will use the game to bolster its upcoming DCU film Superman. James Gunn will appear during The Puppy Bowl with his dog Ozu, who served as the inspiration for the superdog Krypto in the film. Gunn will introduce a sneak preview of Superman and deliver a “special message” to viewers. According to box office tracking service Quorum, Captain America: Brave New World will likely cross the $100 Million Dollar Mark in it's opening 4 day weekend Ludwig Göransson will compose the score for Christopher Nolan's upcoming adaptation of The Odyssey. Göransson's other film and TV credits include Creed, Black Panther, Atlanta, Tenet, and The Mandalorian. Succession creator Jesse Armstrong has reached an agreement with HBO to produce a feature film. The movie is based on an original idea of Armstrong's and will center on four friends who meet up in the midst of a global financial crisis. Production is currently fast-tracked to start later this year.

Scott Sumner didn't follow the typical path to economic influence. He nearly lost his teaching job before tenure, did his best research after most academics slow down, and found his largest audience through blogging in his 50s and 60s, in the wake of the 2008 financial crisis. Yet this unconventional journey led him to become one of the most influential monetary thinkers of the past two decades. Scott joins Tyler to discuss what reading Depression-era newspapers revealed about Hitler's rise, when fiat currency became viable, why Sweden escaped the worst of the 1930s crash, whether bimetallism ever made sense, where he'd time-travel to witness economic history, what 1920s Hollywood movies get wrong about their era, how he developed his famous maxim "never reason from a price change," whether the Fed can ever truly follow policy rules like NGDP targeting, if Congress shapes monetary policy more than we think, the relationship between real and nominal shocks, his favorite Hitchcock movies, why Taiwan's 90s cinema was so special, how Ozu gets better with age, whether we'll ever see another Bach or Beethoven, how he ended up at the University of Chicago, what it means to be a late bloomer in academia, and more. Read a full transcript enhanced with helpful links, or watch the full video. Recorded December 27th, 2024. Other ways to connect Follow us on X and Instagram Follow Tyler on X Follow Scott on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here.

Dave and Jeremy dive deep into Dave's pick, a domestic drama from director Yasujiro Ozu. In post-war Tokyo, 27 year old Noriko resists mounting pressure to marry and leave her widowed father's home. Filled with moments of everyday tranquility, LATE SPRING evokes powerful emotions with unusual camera placement and subdued performances that gently advance the painful conflict faced by Noriko and her father. Join Dave and Jeremy as they admire the effectiveness of Ozu's style and puzzle over the tantalizing ambiguities that bring his characters and their fates to life. This episode's conversation touches on the critical responses to Ozu's oeuvre, his recurring cast members, and the vision and craft with which this innovative director renders the turning points in this subtly devastating study of self and family. Cue up, hang out, and rewind as much as you like as Dave and Jeremy relish the warmth of LATE SPRING.Thank you for listening! Please subscribe, leave a rating or review, and share this show with your friends.We'll be back next month with Jeremy's reply.Music by Jeremy Donald.Find Dave here:https://linktr.ee/davedwelling

Programa especial sobre el Festival de Cine Europeo de Sevilla Vuelve al programa José Miguel Moreno, fundador de La gran Evasión. Raúl Gallego y José Miguel hablan de Ozu, de los hermanos Machado, del magma del cine, de algunas peripecias en las salas y fuera de ellas en esta edición de transición de nuestro Festival sevillano. Palmarés del 21 Festival de Sevilla SECCIÓN OFICIAL Premio Giraldillo de Oro a la Mejor Película de la Sección Oficial: AND THEIR CHILDREN AFTER THEM (Ludovic y Zoran Boukherma) Gran Premio del Jurado de la Sección Oficial: FLOW (Gints Zilbalodis) Premio a la Mejor Dirección: Magnus von Horn (THE GIRL WITH THE NEEDLE) Premio al Mejor Guion: Sandhya Suri (SECRETOS DE UN CRIMEN) Premio a la Mejor Actriz: Trine Dyrholm (THE GIRL WITH THE NEEDLE) Premio al Mejor Actor: Paul Kircher (AND THEIR CHILDREN AFTER THEM) Premio al Mejor Montaje: Gints Zilbalodis (FLOW) Premio a la Mejor Fotografía: Michał Dymek (THE GIRL WITH THE NEEDLE) Premio a la Mejor Dirección Artística: Jagna Dobesz (THE GIRL WITH THE NEEDLE) PUERTA AMÉRICA Premio Puerta América: FLOW (Gints Zilbalodis) LAS NUEVAS OLAS Premio a la Mejor Película de Las Nuevas Olas: THE FLAME OF A CANDLE (André Gil Mata) Mención especial del jurado de Las Nuevas Olas: PREFIRO CONDENARME (Margarita Ledo Andión) RAMPA Premio a la Mejor Película de Rampa: DROWNING DRY (Laurynas Bareiša) Mención especial del jurado de Rampa: Valeria Bruni Tedeschi (SOMEWHERE IN LOVE) Premio Jurado CampUS: Saïd Hamich Benlarbi (ACROSS THE SEA) ALUMBRAMIENTO Premio a la Mejor Película de Alumbramiento: LADS (Julien Menanteau) Mención especial del jurado de Alumbramiento: O VENTO ASSOBIANDO NAS GRUAS (Jeanne Waltz) PANORAMA ANDALUZ Premio Juan Antonio Bermúdez a la Mejor Película de Panorama Andaluz: LOS RESTOS DEL PASAR (Luis (Soto) Muñoz y Alfredo Picazo) Mención especial del jurado de Panorama Andaluz: CAJA DE RESISTENCIA (Concha Barquero Artés y Alejandro Alvarado Jódar) Premio Rosario Valpuesta al Mejor Cortometraje de Panorama Andaluz: TUMBAS VECINAS (José Antonio Gutiérrez Bustos) Premio Especial Rosario Valpuesta a la Contribución Artística: EL CAMBIO DE RUEDA (Begoña Arostegui) OTROS PREMIOS Premio AC/E a la Mejor Dirección de Película Española: Aitor Echeverría (DESMONTANDO UN ELEFANTE) Premio AAMMA Women in Focus: THIS LIFE OF MINE (Sophie Fillières) Premio Queer Ocaña a la Libertad: UN HOMBRE LIBRE (Laura Hojman) Premio Cinéfilos del Futuro: YOUNG HEARTS (Anthony Schatteman) Premio Europa Júnior: DUNIA Y EL ECO DEL TAMBOR (Marya Zarif y André Kadi) XVII Premio Europeo de Cine-Guion Cinematográfico Universidad de Sevilla en categoría de ficción Primer Premio: Y AHORA QUE DUERMES (Beatriz Hohenleiter Márquez y Mario Lerma) Segundo Premio: MADRE PUESTA (Álvaro del Moral Otero) Gran Premio del Público a la Mejor Película de la Selección EFA: SEGUNDO PREMIO (Isaki Lacuesta y Pol Rodríguez) Blog: cinemalagranevasion.blogspot.com Instagram: la_gran_evasion1_ https://www.instagram.com/la_gran_evasion1_/

In this solo episode on the film 'Early Summer', I complete the ERRP coverage of Yasujirō Ozu's 'Noriko trilogy'. And there is much to talk about with this movie: how it compares/ differs from the director's earlier work 'Late Spring', visual metaphors the filmmaker uses and how I personally relate to this story.

Dispatch is back after a week off! A nice full show today, with entertainment, science, archaeology, and sports!- ENTERTAINMENT -Music:(02:25) • Tyler the Creator's next up is CHROMOKOPIA, and the rollout is going splendidly.(07:30) • Ab-Soul announces SOUL BURGERTelevision:(08:11) • RICK AND MORTY renewed for seasons 11 & 12, with season 8 on the docket for next year.(09:55) • DUNE: PROPHECY set for a November 17 premiere + DEATH BY TELEVISION update.(11:00) • DAREDEVIL: BORN AGAIN set for a March 4, 2025 premiere.Movies:(12:50) • Tom Holland cast in Christopher Nolan's next film alongside Matt Damon.(15:18) • Colman Domingo set to make directorial debut with SCANDALOUS.(16:18) • Robert Pattinson potentially eyeing a role and producing credit on A24 film inspired by TO CATCH A PREDATOR.(17:37) • Alana Haim joins the casts of THE DRAMA, starring Robert Pattinson and Zendaya, and THE MASTERMIND, starring Josh O'Connor.(18:37) • Greta Lee fills in for Sandra Hüller in upcoming Willem Dafoe picture: LATE FAME.(19:29) • JOHN WICK prequel anime film in the works.(21:16) • THE DAY THE EARTH BLEW UP, a Looney Tunes movie will be released February 2025 in theaters.(23:23) • WONKA 2 has been green lit, with production slated for 2026.(23:56) • DUNE: MESSIAH slated to begin production in early 2026, potentially freeing up Greig Fraser to photograph both it and THE BATMAN 2.(25:57) • Hans Zimmer's DUNE PART TWO score has been disqualified from awards contention.(29:01) • Luca Guadagnino set to direct a new adaptation of AMERICAN PSYCHO + the fancast nightmare of Patrick Bateman.(33:42) • James Gunn posts sentimental caption about his own dog, Ozu, to announce the presence of Krypto in his SUPERMAN film.(36:47) • David Corenswet has been cast as John Tuggle in football flick MR. IRRELEVANT.Reviews:(37:45) • SATURDAY NIGHT review(41:48) • WE LIVE IN TIME review- SCIENCE & ARCHAEOLOGY -Space:(48:13) • SpaceX launches starship and catches it in MECHAZILLA.(50:30) • Europa Clipper launched! Satellite heading for a moon of Jupiter with the highest likelihood of life beyond Earth.(57:16) • World Science Festival speaker suspects human life is the most bizarre, out-there species in the universe.Earthbound:(1:00:30) • New messages discovered in Temple of Luxor hieroglyphics.- SPORTS -Baseball:(1:06:38) • Yankees vs Dodgers in the World Series, and why that's a bittersweet reality.Basketball:(1:10:35) • New York Liberty dubbed WNBA Champions.(1:11:08) • NBA Tip-off Week. The chip on Jayson Tatum's shoulder. The special moment Lebron and Bronny took the court together.Football:(1:17:07) • NFL Week 8 picks.

Director James Gunn says Krypto the Superdog in his new "Superman" movie is inspired by his rescue dog Ozu. Gunn is the director of the Guardian of the Galaxy movies. How many are there?

Jonás Trueba es director de cine y productor. Su última película, “Volveréis”, se estrena en cines mañana y fue premiada como la mejor película europea de la Quincena de Realizadores de Cannes. Charlamos sobre rupturas, parejas que hacen suelo, el poder de la repetición, el amor, atrapar la vida, luchar contra la película que no has hecho, ser el rey del ferragosto madrileño, Íñigo Montoya, Ozu, directores favoritos (y menos favoritos) y las diferencias entre esperanza, recuerdo y repeticiónLIBROSAtrapad la vida - TarkovskiEscupir en el tiempo - TarkovskiLa búsqueda de la felicidad - Stanley CavellCiudades de palabras - Stanley CavellDiccionario del cine - Fernando TruebaEl salón de pasos perdidos - Andrés TrapielloLa repetición - KierkegaardAntología de los diarios de Yasujiro OzuPELÍCULASVolveréisAnatomía de una caídaPerfect DaysTodo OzuTodo Jonas MekasLa princesa prometidaThe SquarePobres CriaturasTenéis que venir a verla

We went deep for our second King Vidor Special Subject episode, looking at four films from the 1930s: Street Scene (1931), adapted by Elmer Rice from his famous stage play about working-class New Yorkers; the little-known Cynara (1932), starring Ronald Colman as a kindly upper-middle-class man who stumbles into adultery and the abyss; Our Daily Bread (1934), Vidor's eccentric, self-produced response to the Great Depression; and Stella Dallas, one of the great woman's pictures, centered on one of Barbara Stanwyck's greatest performances. Class, gender, transformation of consciousness, and how they're served by melodrama story structures all come in for examination as we find links with the films of other auteurs, from Ozu to Lynch. And in Fear and Moviegoing in Toronto, we take a quick look at monster movie tropes and James Cameron's masochistic feminism in The Terminator. All this and more feedback on our Lilli Palmer series!  Time Codes: 0h 00m 30s:      More general musings on Vidor 0h 05m 49s:      STREET SCENE (1931) [dir. King Vidor] 0h 26m 44s:      CYNARA (1932) [dir. King Vidor] 0h 45m 32s:      OUR DAILY BREAD (1934) [dir. King Vidor] 1h 00m 46s:      STELLA DALLAS (1937) [dir. King Vidor] 1h 39m 13s:      Fear and Moviegoing in Toronto: James Cameron's The Terminator (1984) 1h 45m 23s:      Listener Communiqués +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

I love Ozu. I tell you why for an hour in this first third of my 8pl8s: Ozu trilogy, covering the director's silent film era (1927 - 1936). SHARE THE SHOW WITH ALL YOUR BORN, BUT... FRIENDS & RATE 5 STARS ~ 8pl8s IG: https://www.instagram.com/8pl8s/

https://notesonfilm1.com/2024/08/16/jose-arroyo-in-converssation-with-alastair-phillips-on-tokyo-story-yasujiro-ozu-1953/ I've been wanting to talk to Alastair Phillips about his ‘BFI Classic' monograph on TOKYO STORY (Yasujiro Ozu, 1953) since it was first published late last year. I found reading the book after watching the film truly illuminating, deepening and enriching the experience: a real achievement with a film already so familiar. It draws on Japanese sources not yet available in English, offering new information on the film's production and reception and combines this with Alastair's characteristically precise and informative textual analysis. It's no surprise that the book is already on its second printing. In the podcast we discuss the significance of TOKYO STORY being Ozu's first film after the American occupation; Shochiku Studios, genre, and the star system of the period; the film's reception in Japan and the lag between that and broader international release; Ozu's characteristic aesthetic, including what Nöel Burch characterised as the ‘pillow shot' ; the relation of space to place in the film; how the film is about the flow of time in its varied temporalities; the female-centric aspect of the film and what it has to say about ‘blood' families; why and how it's so moving; it's relationship to MAKE WAY FOR TOMORROW (Leo McCarey, 1937); how Ozu is not just one of the great directors of the Twentieth Centuries but, considering his work as a potter, designer, painter, photographer, calligrapher etc, might just be one of its greatest artists; why it keeps getting ranked at the top of the critics' polls decade after decade; why isn't it called THE ONOMICHI STORY …. And much more. A conversation that will hopefully incite listeners to read the book.

The Wiz RECOMMENDS Tokyo Story How can a film be both minimalistic but beautiful? Plain but profound? To the point but complex? In Yasujiro Ozu's masterpiece Tokyo Story, Ozu uses his lack of stylistics as a powerful style all it's own: he plays the film as straight and direct as possible and let's the dynamics play out as it may. The result is a film that feels like it should feel simple: a film about an elderly couple visiting their kids who don't have time for them is about as succinct as it can get. But it's depths come from the subtle nuances of the performances by the elderly couple, the questions that the film asks and the direct but compassionate answers it provides. It's both sobering, sad and tragic without it feeling overbearing and over dramatic. It's no wonder why filmmakers and film lovers heap it so much praise: it does so damn much with so little.

“An art house version of ‘Friday The 13th' from Jason's point of view” is the kind of brilliantly simple movie hook that makes every armchair director slap their forehead and shout “Why didn't I think of that?!?” And from the moment he was given the script to Shudder's very fun horror hit IN A VIOLENT NATURE, editor Alex Jacobs knew he had to work on it. Turns out, he was the perfect guy for the job. With a history in experimental “ambient” video —and his deep love for horror and genre films— it was a match made in slasher movie heaven. On this episode we talk to Alex about Racer Trash, Norm MacDonald, the UW Cinematheque, video store employee bucket lists, knowing the right person at the right time, uneven franchises, Ozu summers, and we pick the BEST(!!!) horror movie kills. Boy, oh boy! Drop your crocs and grab your socks. Let's do this!

Ellis and Corbin talk about "GOOD MORNING," Ozu's little fable about two brave little boys and their quest to acquire the most forbidden of all fruits... a television. It's also about adults running their mouths.  Matt and Corbin both reccomended books. Corbin also reccomends "Hit Man," the new Richard Linklatter movie, which you can watch on Netflix (Ugh). Next week's episode is about Frank Capra's 'Lost Horizon,' which you can watch on the Internet Archive. Ellis send my this with the file: 'Song at the end, if you want to put it into notes, is "Go Mad and Mark" off of Envy's A Dead Sinking Story. I think you should put it in the notes its one of my favorite albums of all time and I will admit I put it on this episode because they are from Japan lmao.'

Back this episode to talk about Jane Austen adaptations. There are many, but we only have time to watch and discuss a handful. At first Bob and Mark seem to be on the same page, but by the end...well, you'll hear. As ever, SPOILERS, but really, these stories are 200 years old. If you don't know them already, that's on you. 00:10 Introduction 2:28 Austen adaptations 7:25 Pride and Prejudice (1995 and 2005) 14:30 Bob compares it to Ozu, because of course he does, and we discuss the stories as a group 20:58 Persuasion (1995) 25:11 Social conventions 33:31 Emma (1996 and 2020) 40:29 Sense and Sensibility (1995) 47:30 Bob and Mark disagree vehemently on the relative quality of the films, then Sense and Sensibility specifically 51:47 Mark finds watching a group of similar movies back to back diminishes his enjoyment 52:36 The perils of watching a lot of movies 56:30 Wrapping up 58:31 Baseball! Note: Oscar® and Academy Awards® are the trademarks and service marks of the Academy of Motion Picture Arts and Sciences. This podcast is neither endorsed by nor affiliated with the Academy of Motion Picture Arts and Sciences.Music:Intro and Outro music excerpted without alteration other than length and volume from AcidJazz by Kevin McLeod under a Creative Commons (CC BY 3.0) license: https://creativecommons.org/licenses/by/3.0/legalcode

In this episode- recorded last summer- I finally return to the wonderful world of 1940s cinema and- in particular- to the work of Yasujirō Ozu (the director of 'Tokyo Story') with a solo conversation about his 1949 film, 'Late Spring' (a film well worth watching, if you get the chance). And even though it's a short episode I find time to talk about a number of things but- in particualr- I look at this film from a queer perspective. I also have things to say about The Game of Life.

Felicia is joined by Peter Merriman to discuss Yasujirō Ozu's tale about aging parents and their relationships with their older children, in Tokyo Story (1953). We chat about why Japan original didn't think they could market this film in North America, and how it eventually became one of the most universal film texts that audiences continue to relate to. This mark's the end of the Ozu series, it was an honour and beautiful experience revisiting and watching some of his films for the first time in preparation. There is an Ozu film out there for everyone, and I hope you find it and it changes your life. Send us your thoughts on the episode - do you prefer Ozu's colour or black and white film era? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Sources: https://www.criterion.com/current/posts/301-tokyo-story-compassionate-detachment https://www.criterion.com/current/top-10-lists/371-rashaad-ernesto-green-s-top-10 https://www.theguardian.com/film/2023/aug/31/tokyo-story-review-yasujiro-ozu https://www.sensesofcinema.com/2003/great-directors/ozu/ https://www.ucpress.edu/book/9780520396722/directed-by-yasujiro-ozu https://www.ucpress.edu/book/9780520296817/transcendental-style-in-film https://www.enotes.com/topics/yasujiro-ozu/critical-essays/lindsay-anderson OUTRO SONG: Tokyo Story Theme by Takanobu Saitô FILMS MENTIONED: The American Friend (Wim Wenders 1977) The Holdovers (Alexander Payne 2023) Anatomy of a Fall (Justine Triet 2023) Barbie (Greta Gerwig 2023) Oppenheimer (Christopher Nolan 2023) Tenet (Christopher Nolan 2020) Dune: Part 2 (Denis Villeneuve 2024) Bring Me the Head of Tim Horton (Guy Maddin 2015) Justice League (Zack Snyder 2021) Dawn of the Dead (Zack Snyder 2004) An Autumn Aftenoon (Yasujirō Ozu 1964) Late Spring (Yasujirō Ozu 1949) Make Way For Tomorrow (Leo McCarey 1937) Tokyo Twilight (Yasujirō Ozu 1957) I Was Born, But… (Yasujirō Ozu 1932) Tokyo-ga (Wim Wenders 1985) Sans Soleil (Chris Marker 1983) A Man Escaped (Robert Bresson 1957) Mommie Dearest (Frank Perry 1981) Toni Erdmann (Maren Ade 2016) Paris, Texas (Wim Wenders 1984) Wild Strawberries (Ingmar Bergman 1957)

On Episode 108 of Floating through Film, we go back and review two films we "rejected" when we did our Ozu and Tsai series', Ozu's 1959 film Good Morning (03:00), and Tsai's 2006 film I Don't Want to Sleep Alone (1:18:00). We hope you enjoy! Episode Next Week: Luis Buñuel Week 1 (Un Chien Andalou + Los Olvidados) Music: - Intro from Good Morning (https://www.youtube.com/watch?v=B7E4yv52e9Q&ab_channel=Koyaanisqatsi) - Break from I Don't Want to Sleep Alone (https://www.youtube.com/watch?v=rwqKenNJUhs&ab_channel=IlaiyaraajaOfficial) - Outro from I Don't Want to Sleep Alone (https://www.youtube.com/watch?v=Kwyi_pFl_cE&ab_channel=TanSoo-Suan-Topic) Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

Felicia is joined by Bryan Loomis (from What a Picture Podcast) to discuss Yasujirō Ozu's silent comedy about two brothers who begin to see their father in a new light. Send us your thoughts on the episode - do you prefer Ozu's silent or talkies era? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode: All The President's Men (D.O.P. Gordon Willis 1976) Follow Bryan here: Website: PODCAST | What a Picture (whatapicturepod.com) What a Picture Podcast: https://anchor.fm/what-a-picture Sources: https://www.highonfilms.com/i-was-born-but-1932-ozu/ http://www.midnighteye.com/reviews/i-was-born-but/ https://blogs.iu.edu/establishingshot/2020/02/17/sublime-tragicomedy-i-was-born-but-1932/ https://www.slantmagazine.com/film/i-was-born-but/ https://harvardfilmarchive.org/calendar/i-was-born-but-2023-06 https://www.nytimes.com/2010/06/25/movies/25iwas.html OUTRO SONG: Birthday by The Sugarcubes FILMS MENTIONED: All The President's Men (Alan J. Pakula 1976) Perfect Days (Wim Wenders 2023) Pather Panchali (Satyajit Ray 1955) Horse Money (Pedro Costa 2014) Trust (Hal Hartley 1990) Late Spring (Yasujirô Ozu 1949) Tokyo Story (Yasujirô Ozu 1953) Walk Cheerfully (Yasujirô Ozu 1930) Good Morning (Yasujirô Ozu 1959) Early Summer (Yasujirô Ozu 1951) Autumn Afternoon (Yasujirô Ozu 1962) Trouble in Paradise (Ernst Lubitsch 1932) Lady Bird (Greta Gerwig 2017) Miracle in Milan (Vittorio De Sica 1951) Housekeeping (Bill Forsyth 1987)

Felicia is joined by Malik Nelson to discuss Yasujirō Ozu's overlooked film about two sisters grappling with the return of their mother who abandoned them in Tokyo Twilight (1957). Send us your thoughts on the episode - do you prefer Ozu's black and white or in colour films? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Malik here: Letterboxd: @atelopusfarci IG:@malachimalik_ Sources: https://nyunews.com/arts/film/2019/10/28/tokyo-twilight-4k-film-restoration-review/ https://www.criterion.com/current/posts/634-eclipse-series-3-late-ozu https://www.sensesofcinema.com/2019/cteq/tender-restraint-tokyo-twilight-yasujiro-ozu-1957/OUTRO SONG: Tokyo Twilight Theme by Takanobu Saitô FILMS MENTIONED: Late Spring (Yasujirō Ozu 1949) Tokyo Story (Yasujirō Ozu 1953) Written on the Wind (Douglas Sirk 1956) Dead Man (Jim Jarmusch 1996) Good Morning (Yasujirō Ozu 1959) 20th Century Women (Mike Mills 2016) Frances Ha (Noah Baumbach 2013) Stella Dallas (King Vidor 1937)

Felicia is joined by Seth Vargas to discuss one of the most touching and heartbreaking story of a father and daughter dynamic, in Yasujirō Ozu's Late Spring (1949). We chat about how Ozu perfected the genre of family dramas, by keeping the visuals simple yet effective. We also how the characters in this film bridge old and new world Japan. Send us your thoughts on the episode - which is Ozu's ‘season' films is your favourite? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Seth here: Movie Friends Podcast (website) Twitter: @moviefriendspod IG: @moviefriendspodcast YouTube: @moviefriendspodcast Listen to our previous episodes: Le bonheur (Agnès Varda 1965) Woman in the Dunes (Hiroshi Teshigahara 1964) Sources: https://www.criterion.com/current/top-10-lists/294-andrew-ahn-s-top-10 https://www.criterion.com/current/posts/421-late-spring-home-with-ozu https://www.rogerebert.com/reviews/great-movie-late-spring-1972 https://www.sensesofcinema.com/2003/great-directors/ozu/ OUTRO SONG: Late Spring by Senji Itô FILMS MENTIONED: Le bonheur (Agnès Varda 1965) Woman in the Dunes (Hiroshi Teshigahara 1964) Ghostwatch (Lesley Manning 1992) Dune 2 (Denis Villeneuve 2024) The Rage: Carrie 2 (Katt Shea 1999) Cannibal Holocaust (Ruggero Deodato 1985) Set It Off (F. Gary Gray 1996) I Was Born, But… (Yasujirō Ozu 1932) Flirt (Hal Hartley 1995) Pride of the Yankees (Sam Wood 1942) Good Morning (Yasujirō Ozu 1959) Tokyo Story (Yasujirō Ozu 1953) Me and You and Everyone We Know (Miranda July 2005) The Heiress (William Wyler 1949) Paper Moon (Peter Bogdonavich 1973)

Even though it's early spring time, The Searchers are watching and reviewing Late Spring (1949) this week, from iconic Japanese director Yosujiro Ozu. Friend and analytical-film mentor to Chris, Daniel Kieckhefer joins the podcast on Episode 51 to discuss Ozu's meditative and subtle nature and why he may or may not appeal to people who watch his films. Comparisons to other Japanese cinema, Alfred Hitchcock, and earlier Ozu works are abound. Check out Daniel's own website The Cinematograph where you can find more of his writings on film, HERE. Submit your mailbags to us at thesearcherspodcast@gmail.com. We'll read it on air. Please rate us a 5/5, and review us on Apple, Spotify, or wherever you listen to us. Follow us on Letterboxd.com if you'd like to see what we've recently watched and/or reviewed. Ben, Chris, & Kevin Our episode catalogue: https://searchersfilmpodcast.podbean.com/

THIS WEEK: Visitor Q (2001), A Lonely Cow Weeps At Dawn (2003), The Cow Who Sang a Song Into The Future (2022)People often accuse us of not "listening" to our "audience" so we're finally rolling out the long-awaited fetish content meets arthouse cinema episode you've been begging for. That's right! You can get your Takashi Miike shot-on-video fix while also appreciating an underrated indie film AND a softcore flick that looks like Ozu but swaps out the usual family drama for the heartwarming tale of a woman getting milked by her father-in-law. A tale as old as time! Donate to Palestinian Medical Aid Support Optimism Vaccine on Patreon

We're in a contemplative mood on this episode, and there's no filmmaker better suited for such a mood than Yasujirō Ozu. We discuss his final film, AN AUTUMN AFTERNOON (1962), and how Ozu's seemingly narrow thematic and stylistic palette encompasses so much of the human condition. PATREON-EXLUSIVE EPISODE - https://www.patreon.com/posts/496-autumn-97874507

Isaac, Juzo, and Cameron Explore the poignant depths of familial drama and human tragedy in "Tokyo Twilight," directed by the legendary Yasujirō Ozu. This timeless Japanese classic stars Ineko Arima, Setsuko Hara, and Chishū Ryū. It weaves a narrative of emotional complexity amidst a broken family living in bustling Tokyo. Can unravel the intricacies of life, love, and loss translate to a modern audience, or has Ozu gone too dark with this heartbreaking tale? Cinema Spectator is a movie podcast hosted by Isaac Ransom and Cameron Tuttle. The show is executive produced by Darrin O'Neill and recorded & produced in the San Francisco Bay Area, CA. You can support the show at patreon.com/ecfsproductions. Follow us on YouTube, Facebook, Instagram, and Twitter under ECFS Productions (@ecfsproductions). Isaac and Cameron started recording podcasts with their first project, Everything Comes from Something (2018), and are now focusing on new weekly content for Cinema Spectator. Cameron Tuttle is a full-time professional cinematographer majoring in SFSU Film School to collaborate with corporate, private, and creative productions. Cameron is the expert. Isaac Ransom is a professional creative, digital marketer, and product manager working full-time. Isaac is the student. The podcast is a passion project between two longtime friends; we hope you can enjoy our project with the limited time we have! Thank you for your time, your generosity, and support.

32 years in the making. Kris Gerhardht joins the GORDCAST. Just listen! GOSSAMER is the best LP of the year. Music, movies and monsters! PINK FLOYD, MUSE, STONE TEMPLE PILOTS, ANTHRAX, JAPAN, KUROSWAWA, OZU, FREAKS, TOD BROWNING, EVIL DEAD Etcetera Stick around at the end for Kris shredding as a teen.

Nous pouvons améliorer les images du monde, et comme ça, nous pouvons améliorer le monde. C'est ce que dit le réalisateur Wim Wenders. Qu'en pense notre invité Nara Keo-Kosal, né au Cambodge d'une mère vietnamienne et d'un père cambodgien, devenu directeur de la photographie, actuellement co-directeur artistique du festival Si loin, si proche, premières rencontres cinématographiques du Cambodge, Laos et Vietnam, à la Ferme du Buisson du 24 au 28 janvier ? Nara Keo-Kosal traversé par le cinéma de Tavernier, le travail mémoriel de Rithy Panh et l'esthétique d'un Ozu, fait partie de ces rencontres cinématographiques en signant Au pays des sentinelles éternelles : du cinéma qui lui permet de se rapprocher de son pays si éloigné...Les choix musicaux de Nara Keo-KosalThanh Lan Bang bangGeorges Ka Saïgon.

Isaac and Cameron explore the profound simplicity of Yasujirō Ozu's timeless masterpiece, Tokyo Story. Directed by Ozu and featuring iconic performances by Chishū Ryū and Chieko Higashiyama, this Japanese classic beautifully captures the delicate and tragic nuances of family dynamics and the fleeting nature of life in post-war Tokyo. Join us as we judge this classic's emotional richness from the modern perspective.  Cinema Spectator is a movie podcast hosted by Isaac Ransom and Cameron Tuttle. The show is executive produced by Darrin O'Neill and recorded & produced in the San Francisco Bay Area, CA. You can support the show at patreon.com/ecfsproductions. Follow us on YouTube, Facebook, Instagram, and Twitter under ECFS Productions (@ecfsproductions). Isaac and Cameron started recording podcasts with their first project, Everything Comes from Something (2018), and are now focusing on new weekly content for Cinema Spectator. Cameron Tuttle is a full-time professional cinematographer majoring in SFSU Film School to collaborate with corporate, private, and creative productions. Cameron is the expert. Isaac Ransom is a professional creative, digital marketer, and product manager working full-time. Isaac is the student. The podcast is a passion project between two longtime friends; we hope you can enjoy our project with the limited time we have! Thank you for your time, your generosity, and support.

For our January Special Subject, we look at three silent "family comedies" by Ozu, Tokyo Chorus (1931), I Was Born, But... (1932), and Passing Fancy (1933), although we argue that "comedy" doesn't entirely encompass the emotional range of these films. We argue that the melancholy of late Ozu is already discernible in these tales of father-son conflict and confrontation with life's disappointing nature, although Passing Fancy offers a different kind of father-son relationship and unique brand of comedy. Then in Fear and Moviegoing in Toronto, we discuss Robert Rossen's The Hustler as a blacklisting allegory and the cinematic pyrotechnics of Brian De Palma's Snake Eyes.  Time Codes: 0h 00m 45s:      TOKYO CHORUS (1931) [dir. Yasujiro Ozu] 0h 26m 53s:      I WAS BORN, BUT… (1932) [dir. Yasujiro Ozu] 0h 38m 36s:      PASSING FANCY (1933) [dir. Yasujiro Ozu] 0h 57m 41s:      Fear and Moviegoing in Toronto – The Hustler (1961) directed by Robert Rossen & Snake Eyes (1998) directed by Brian De Palma +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Isaac, Cameron, and Juzo explore the timeless beauty of Yasujirō Ozu's masterpiece, "Late Spring," a poignant Japanese film that delves into the complexities of familial relationships. Directed by Ozu and featuring stellar performances by Chishū Ryū and Setsuko Hara, this classic captures the essence of familial change, tradition, and societal expectations in post-war Japan. Join us as we unravel the emotional depth and modern relevance of "Late Spring" in this podcast episode.   Cinema Spectator is a movie podcast hosted by Isaac Ransom and Cameron Tuttle. The show is executive produced by Darrin O'Neill and recorded & produced in the San Francisco Bay Area, CA. You can support the show at patreon.com/ecfsproductions. Follow us on YouTube, Facebook, Instagram, and Twitter under ECFS Productions (@ecfsproductions). Isaac and Cameron started recording podcasts with their first project, Everything Comes from Something (2018), and are now focusing on new weekly content for Cinema Spectator. Cameron Tuttle is a full-time professional cinematographer majoring in SFSU Film School to collaborate with corporate, private, and creative productions. Cameron is the expert. Isaac Ransom is a professional creative, digital marketer, and product manager working full-time. Isaac is the student. The podcast is a passion project between two longtime friends; we hope you can enjoy our project with the limited time we have! Thank you for your time, your generosity, and support.

Isacc, Cameron, and Juzo are back in 2024, ready to dive into the iconic Japanese director Yasujirō Ozu. The boys discuss the media they have recently watched over the holiday break, from 2023's Iron Claw to Survivor, the TV series. For the podcast, The Only Son begins Ozu's directorial catalog, as Isaac brings a casual perspective, and Juzo represents a critical review.  Cinema Spectator is a movie podcast hosted by Isaac Ransom and Cameron Tuttle. The show is executive produced by Darrin O'Neill and recorded & produced in the San Francisco Bay Area, CA. You can support the show at patreon.com/ecfsproductions. Follow us on YouTube, Facebook, Instagram, and Twitter under ECFS Productions (@ecfsproductions). Isaac and Cameron started recording podcasts with their first project, Everything Comes from Something (2018), and are now focusing on new weekly content for Cinema Spectator. Cameron Tuttle is a full-time professional cinematographer majoring in SFSU Film School to collaborate with corporate, private, and creative productions. Cameron is the expert. Isaac Ransom is a professional creative, digital marketer, and product manager working full-time. Isaac is the student. The podcast is a passion project between two longtime friends. We hope you can enjoy our project with the limited time we have! Thank you for your time, your generosity, and support.

Good Morning (1959): Movie Review from the Ray Taylor ShowShow topic: Step into the charming world of Yasujirō Ozu's 1959 Japanese comedy, 'Good Morning' (お早よう, Ohayō), as Ray Taylor offers an insightful review of this classic film. A loose remake of Ozu's own 1932 silent film 'I Was Born, But...,' and his second color film, 'Good Morning' delightfully depicts life in suburban Tokyo through a blend of humor and societal observation. The film's narrative revolves around the Hayashi family and the local women's club, entwining a humorous subplot about misplaced monthly dues with the story of young boys enamored with their neighbor's television. Ray Taylor delves into Ozu's masterful storytelling and the film's commentary on communication, modernization, and the generational gap in post-war Japan. Discover the charm and subtlety of Ozu's work in this episode, which sheds light on why 'Good Morning' remains a celebrated piece in the world of cinema.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links Genres: Drama - Comedy - Family

Good Morning (1959): Movie Review from the Ray Taylor ShowShow topic: Step into the charming world of Yasujirō Ozu's 1959 Japanese comedy, 'Good Morning' (お早よう, Ohayō), as Ray Taylor offers an insightful review of this classic film. A loose remake of Ozu's own 1932 silent film 'I Was Born, But...,' and his second color film, 'Good Morning' delightfully depicts life in suburban Tokyo through a blend of humor and societal observation. The film's narrative revolves around the Hayashi family and the local women's club, entwining a humorous subplot about misplaced monthly dues with the story of young boys enamored with their neighbor's television. Ray Taylor delves into Ozu's masterful storytelling and the film's commentary on communication, modernization, and the generational gap in post-war Japan. Discover the charm and subtlety of Ozu's work in this episode, which sheds light on why 'Good Morning' remains a celebrated piece in the world of cinema.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links Genres: Drama - Comedy - Family

This week, to celebrate the season, we reflect on Martin Scorsese's mournful November crime classic, The Irishman, and discuss a large selection of movies, including Ozu's Tokyo Story, Todd Haynes' May December, and the latest installments of the MCU and Hunger Games series.

For our Ozu Noir-vember Special Subject, we look at three silent films by Yasujirō Ozu, Walk Cheerfully (1930), That Night's Wife (1930), and Dragnet Girl (1933), that not only bear a fascinating relationship to each other but also seemingly inaugurate the gangster film in Japan and anticipate (we argue) American film noir more closely even than French poetic realism, as well as the Nouvelle Vague. Join us as we marvel at Ozu's rapid evolution as a stylist and storyteller in the space of three years, and stick around to listen to our Fear and Moviegoing in Toronto segment on Scorsese's Killers of the Flower Moon.  Time Codes: 0h 00m 45s:      WALK CHEERFULLY (1930) [dir. Yasujiro Ozu] 0h 23m 49s:      THAT NIGHT'S WIFE (1930) [dir. Yasujiro Ozu] 0h 37m 54s:      DRAGNET GIRL (1934) [dir. Yasujiro Ozu] 1h 01m 53s:      Fear & Moviegoing in Toronto – Martin Scorsese's Killers of the Flower Moon (2023)  +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Au programme cette semaine à Popcorn Sucré On vous embarque voir Flo de Géraldine Danon On suit la désynchronisation psychique de The Killer de David Fincher sorti sur Netflix vendredi dernier On commente L'Enlèvement de Marco Bellocchio On vous emmène au Japon et on vous donne envie de (re)voir les films de Ozu avec Tokyo-Ga de Wim Wenders On discute de Gueules Noires de Mathieu Turi Le tout sans oublier les habituels coups de coeur des chroniqueuses (The Swedish Theory of Love, Les Chaussons rouges, le Lyra cinéclub et Amer Béton). On court donc dans les salles ou sur les plateformes ! Présentation : Alix Chroniqueuses : Pauline, Énora, Pauline et Anne-So'.

In Cineversary podcast episode #64, host Erik Martin is joined by David Desser, emeritus professor of cinema studies at the University of Illinois and one of the world's foremost experts on Asian cinema, to celebrate the 70th anniversary of Tokyo Story, directed by Yasujirō Ozu. They discuss why and how this film remains a masterwork, Tokyo Story's prominent themes , Ozu's unique style, and much more. Learn more about the Cineversary podcast at www.cineversary.com and email show comments or suggestions to cineversarypodcast@gmail.com. --- Support this podcast: https://podcasters.spotify.com/pod/show/cineversary/support

We're keeping it spooky (mostly) this episode! Vampires! Mummies! Pervy Trees! Circus justice! Also, original Scarface, a chill Ozu film, and the Best Movie Title of All Time!  You can watch along with our video version of the episode here on Youtube! You can check out our Instagram, Twitter, and other social media crap here: http://linktr.ee/1w1y And you can watch and form your own opinions from our 1932 Films Discussed playlist right here!   One Week, One Reel Flowers and Trees   Our Feature Presentation Vampyr The Mummy Freaks I Was Born But... Scarface Merrily We Go to Hell   See You Next Year!  

We covered our first Ozu movie earlier this year and our first Mizoguchi review dropped just 3 days ago, so it was way past time to talk about Federico Fellini. The flamboyant Italian made several classics, but 8½ seems to be the favourite for many fellow filmmakers who've followed in his footsteps. This is about as influential as any movie we've discussed in years. It's a director's dream too (sometimes literally), as it's filled with fantasies (good and bad), self-doubt and anxiety. While we raved about the cast and the technical brilliance of Federico's film, we also got into whether or not the movie is aloof and if the dashing Marcello Mastroianni character is sexist...or if Fellini's movie is. In any case, we both respect 8½ more than we love it. So don't pine for an ideal woman, even if she IS Claudia Cardinale. Just fire up the 538th edition of Have You Ever Seen and see what you think of our take on one of the most-revered flicks ever made. We continue to partner with Sparkplug Coffee. They'll give our listeners a one-time 20% discount if they use our "HYES" promo code. Hit up "sparkplug.coffee/hyes". We invite you to email us (haveyoueverseenpodcast@gmail.com) or blast a tweet or three our way (@moviefiend51 and @bevellisellis). We also post all of our podcasts in full on YouTube, Our channel is "@hyesellis". Comment, rate, review, subscribe, etc.

And thus the people who started this podcast to review the AFI's Top 100 Lists have now made a point of talking about the Sight & Sound list. S&S critics ranked Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles in the #1 spot last December, which is the main reason we committed 200 minutes to watch it...let alone decided to review it. Ryan went on a passionate rant about their controversial Top 100, which led to a pretty heated debate about the merits of this lugubrious motion picture and other "women who suffer" films. Not that Jeanne Dielman doesn't find a way to draw you in. Chantal Akerman's feminist look at a widowed mother who lives a dull, repetitive life with her son is Ozu-like in its shot compositions, the unmoving camera and the (very) long takes. We watch process---do we ever---and not much happens as we see Delphine Seyrig go about her routine...until her entire world is rocked. And what causes it to be rocked? Invest a solid hour in our review of an acclaimed example of "slow cinema" in this 531st Have You Ever Seen podcast. A follow-up thought: a problem with the Sight & Sound list that wasn't quite put into clear words in this review is that Ryan just doesn't think a lot of the movies they honoured are, well, good enough. To like them or get some meaning out of films that weren't made by or for a straight, white male is very valid, but for enough people to feel so strongly as to put them on their own Top 10 is a mind-boggler. Also, is Jeanne Dielman rewatchable? That's something we didn't get into. Is this a movie you want to see again and again? We're sponsored by Sparkplug Coffee, who will give customers who use our "HYES" promo code 20% off their next order. Your destination is "sparkplug.coffee/hyes". Feel very free to contact us by email (haveyoueverseenpodcast@gmail.com) or by blasting us with a few tweets (@moviefiend51 and @bevellisellis). Also, look for our shows on YouTube (@hyesellis). We post our podcasts in full there. Comment, share, like, subscribe and also rate our podcast and write a comment through our podcast service.

durée : 00:34:59 - Les Nuits de France Culture - par : Albane Penaranda - Ozu raconté par Jean Douchet : "Il donne à la caméra la place du chien dans la famille"

Sólin heim úr suðri snýr.. sumrið lofar hlýju.. Grand Finale. Upp og niður í Nippon: Tokyo, Nagano, Osaka, Nara, Kyoto, Hiroshima, Ozu, Tokyo. 24. apríl, 26. apríl, 30. apríl, 1. maí, 3. maí, 6. maí, 8. maí, 10. maí, 13. maí, 16. maí, 17. maí, 18. maí, 20. maí, 23. maí, 26. maí, 27. maí. Arigato josé-mas!

A principios de los 50, Robert Bresson parece haber experimentado una intuición clave, que no sólo lo convirtió en un gran cineasta sino que alteró su forma de ver el mundo: en su intento por adaptar el Diario de un cura rural, la novela de Georges de Bernanos, usó los fundamentos del neorrealismo como punto de partida para crear una suerte de poética esencialista y un método fílmico que le permitiera atrapar la experiencia de lo humano. Bresson no estaba solo en esta cruzada; tras la posguerra cineastas como Rossellini, Dreyer, Ozu, Antonioni y Bergman avanzarían en esa misma dirección, pero ninguno de ellos pudo moldear algo como la historia de este joven y enfermo sacerdote que, destinado a una pequeña localidad de Bretaña, se enfrenta a la desidia de sus habitantes gastando las últimas energías que le quedan, condenándose a sí mismo, buscando una gracia que alcanza a avizorar desde muy lejos. De eso y más se habla en este podcast.

durée : 01:09:59 - Les Nuits de France Culture - par : Albane Penaranda - Serge Toubiana dans un "Carnet de voyage à Tokyo" rencontrait le cinéaste Kiyoshi Kurosawa et son ancien professeur, cinéphile et traducteur, Shigehiko Hasumi. Dans "Surpris par la nuit", en 2004, Serge Toubiana proposait un "Carnet de voyage à Tokyo", qui nous donnait des nouvelles du cinéma japonais à l'aube du vingt-et-unième siècle. Chemin faisant, guidé par le critique Yoichi Umemoto, il croisait le réalisateur Kiyoshi Kurosawa et son ancien professeur, l'éminent universitaire et cinéphile Shigehiko Hasumi, traducteur de Deleuze, Derrida et Barthes, et auteur notamment d'ouvrages sur Ozu, Ford et Renoir. Comme le voyageur cinéphile de passage à Tokyo ne peut manquer de le faire, ce carnet de voyage faisait une halte à "La jetée", un bar mythique pour les amoureux du cinéma, dont le nom est bien sûr un hommage à Chris Marker. Pour peu qu'ils soient à Tokyo, de ce refuge cinéphilique cher au cour de Wim Wenders, peuvent à tout moment pousser la porte Coppola, Woody Allen, Tarantino, Léos Carax, Jim Jarmush, Arnaud Desplechin et quelques autres. "Surpris par la nuit. Tokyo cinéma - carnet de voyage". c'était en 2004. Cette année-là deux films japonais étaient en compétition au Festival de Cannes : Ghost in the Shell 2 : Innocence de Mamoru Oshii et Nobody Knows de Hirokazu Kore-Eda, pour lequel Yagira Yuya remporta le prix d'interprétation masculine. Retrouvez l'ensemble de la Nuit : "1960 et après, Nouvelle Vague et multiples visages du cinéma au Japon" Production : Serge Toubiana Réalisation : Manoushak Fashahi Extrait : Surpris par la nuit - Bande à part : Tokyo cinéma, carnet de voyage 1ère partie - 1ère diffusion : 12/05/2004

It was about time we covered a Yasujiro Ozu film. The Japanese director is considered a legend and his Tokyo Story has consistently ranked in the Top 5 of the Sight & Sound polls for decades. He gives us a family reunion of a very unhappy family and slowly reveals why we should care about them. That takes quite a while. Ozu's trademark static camera shots are low to the ground. His characters are polite and withholding. And, yet, his style and substance wasn't a home run with both Ellises. Tokyo Story devastated one of us while leaving the other one moved, but much less so. Anyway, stroke that play button while you sit cross-legged on the floor staring off into space with a polite smile on your face. After all, life is disappointing, but we don't think our 510th podcast is. Residents of Japan can't get Sparkplug Coffee delivered to their front door, but Canadians and Americans certainly can. Punch in "sparkplug.coffee/hyes" and get a one-time 20% discount. We are people who scroll through Twitter (@moviefiend51 and @bevellisellis) and you can also email us (haveyoueverseenpodcast@gmail.com). Each of our 2023 episodes are available on YouTube. Lately, it's just been the full show with a still-frame graphic, but we have in the past---and intend to again at some point---appear on camera for 8 or 10 minutes before the show begins. Ryan also posts sports movie podcasts every other Thursday on "Scoring At The Movies"...at least until June 7th.

Director Charlotte Wells's AFTERSUN documents a holiday that 11-year-old Sophie takes with her loving but troubled father (played by Paul Mescal). The debut feature is one of the best and most sneakily heart-rending films of the year. It also inspires this week's Top 5: Father-Daughter Duos, with Adam and Josh sharing picks from Ozu, Nolan, Bogdanovich, and Spike Lee, along with a pair of inventive docs made by daughters about their dads. Plus Adam's review of WEIRD: THE AL YANKOVIC STORY. 1:22 - Top 5 Father-Daughter Duos 30:26 - Review (AK): “Weird: The Al Yankovic Story" 36:29 - Next Week / Notes  46:38 - Polls 55:08 - Review: “Aftersun" 1:19:12 - Top 5 Father-Daughter Duos, cont. 1:39:12 - Outro Learn more about your ad choices. Visit megaphone.fm/adchoices