Only Shôhei Imamura could irreverently intertwine Catholicism, brutal murders, and pachinko to produce such devastating ends.
The earthiest of Japanese New Wave directors, Shohei Imamura goes fascinatingly meta in A Man Vanishes.
Emphasis, as always, will be on the “Dragons and Tigers” program of over 40 features (plus compilations, mid-length films and shorts) from Asia.
Nagisa Oshima in the ‘60s can be classed as a nihilist, his films angrily obliterating nearly everything in sight.
While most of Black Rain takes place in 1950, the film’s astonishing opening sequence places us at the epicenter of the event, August 1945.
Following the recent releases of The Ballad of Narayama and the Pigs, Pimps and Prostitutes box set, the posthumous celebration of a Japanese master continues.
It’s a small but telling detail that Imamura entered the Japanese film industry as a clapper boy in Yasujirô Ozu productions.
However you slice up postwar Japanese cinema, Shohei Imamura is one of its premiere figures.
Because space was tight, documentaries, shorts and animated films were not eligible. Additionally, we limited directors to no more than one spot on the list.
Warm Water Under a Red Bridge is Shohei Imamura’s delirious ode to the female orgasm.