Psychological thriller The Beasts, directed by Spain’s Rodrigo Sorogoyen, won three awards at this year’s Tokyo International Film Festival, including the Tokyo Grand Prix, best director and best actor for Denis Menochet.
The film, which premiered in an Out Of Competition slot at this year’s Cannes film festival, follows a French couple who move to Spain’s Galician countryside to run an organic farm, but receive a hostile welcome from the locals. The Tokyo Grand Prix comes with a cash award of Y3M.
Iranian filmmaker Houman Seyedi’s satirical drama World War III took the Special Jury Prize at the festival following its wins in Venice for best film and best actor in the Horizons section. Tokyo’s Special Jury Prize comes with a cash award of Y500,000.
Best actress went to Aline Kuppenheim for her role in Manuela Martelli’s 1976, in which she...
The film, which premiered in an Out Of Competition slot at this year’s Cannes film festival, follows a French couple who move to Spain’s Galician countryside to run an organic farm, but receive a hostile welcome from the locals. The Tokyo Grand Prix comes with a cash award of Y3M.
Iranian filmmaker Houman Seyedi’s satirical drama World War III took the Special Jury Prize at the festival following its wins in Venice for best film and best actor in the Horizons section. Tokyo’s Special Jury Prize comes with a cash award of Y500,000.
Best actress went to Aline Kuppenheim for her role in Manuela Martelli’s 1976, in which she...
- 11/3/2022
- by Liz Shackleton
- Deadline Film + TV
With a career spanning 50 years and over 30 feature films, legendary filmmaker Akira Kurosawa was an auteur all his very own. Best known for samurai epics like Seven Samurai, Kurosawa’s career featured ventures into noir (High and Low), crime drama (Rashomon) and even war epic (Dersu Uzala), but few of his films were as decidedly singular as one of his most grand and deeply personal works.
Entitled Akira Kurosawa’s Dreams (at least how it’s billed on the Criterion Collection website), this sumptuous epic is admittedly an oddity in the Kurosawa canon. Narratively, the film is broken down into eight varied vignettes, all of which drawn directly from actual dreams had by the film’s director. Rooted heavily in Japanese culture and folklore, Dreams takes us from small scale stories like that of a young boy getting caught in the middle of a forest-set fox wedding, to the apocalyptic...
Entitled Akira Kurosawa’s Dreams (at least how it’s billed on the Criterion Collection website), this sumptuous epic is admittedly an oddity in the Kurosawa canon. Narratively, the film is broken down into eight varied vignettes, all of which drawn directly from actual dreams had by the film’s director. Rooted heavily in Japanese culture and folklore, Dreams takes us from small scale stories like that of a young boy getting caught in the middle of a forest-set fox wedding, to the apocalyptic...
- 11/23/2016
- by Joshua Brunsting
- CriterionCast
If anybody’s dreams are interesting, Akira Kurosawa’s should be, and this late career fantasy is a consistently rewarding string of morality tales and visual essays that pop off the screen. Some of the imagery has input from the famed Ishiro Honda.
Akira Kurosawa’s Dreams
Blu-ray
The Criterion Collection 842
1990 / Color / 1:85 widescreen / 120 min. / available through The Criterion Collection / Street Date November 15, 2016 / 39.95
Starring Mieko Harada, Mitsunori Isaki, Toshihiko Nakano, Yoshitaka Zushi, Hisashi Igawa, Chosuke, Chishu Ryu, Martin Scorsese, Masayuki Yui.
Cinematography Takao Saito, Shoji Ueda
Film Editor Tome Minami
Original Music Sinichiro Ikebe
Creative Consultant ishiro Honda
Visual Effects Supervisors Ken Ralston, Mark Sullivan
Produced by Hisao Kurosawa, Mike Y. Inoue
Written and Directed by Akira Kurosawa
Reviewed by Glenn Erickson
At the twilight of his career, after some episodes of career frustration and instability, Akira Kurosawa hit a high note with the epic costume dramas Kagemusha and Ran.
Akira Kurosawa’s Dreams
Blu-ray
The Criterion Collection 842
1990 / Color / 1:85 widescreen / 120 min. / available through The Criterion Collection / Street Date November 15, 2016 / 39.95
Starring Mieko Harada, Mitsunori Isaki, Toshihiko Nakano, Yoshitaka Zushi, Hisashi Igawa, Chosuke, Chishu Ryu, Martin Scorsese, Masayuki Yui.
Cinematography Takao Saito, Shoji Ueda
Film Editor Tome Minami
Original Music Sinichiro Ikebe
Creative Consultant ishiro Honda
Visual Effects Supervisors Ken Ralston, Mark Sullivan
Produced by Hisao Kurosawa, Mike Y. Inoue
Written and Directed by Akira Kurosawa
Reviewed by Glenn Erickson
At the twilight of his career, after some episodes of career frustration and instability, Akira Kurosawa hit a high note with the epic costume dramas Kagemusha and Ran.
- 11/21/2016
- by Glenn Erickson
- Trailers from Hell
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
NYC’s IFC Center has plans to expand, and they could use your help to let city officials know you support it.
Watch Don Cheadle analyze a scene from Miles Ahead:
Xavier Dolan‘s The Death and Life of John F. Donovan begins shooting on July 9th, Le Journal de Quebec reports.
Cinematographer Jeff Cutter discusses shooting 10 Cloverfield Lane with Filmmaker Magazine:
Anamorphic lenses just have a feeling that reminded Dan and I of what it used to be like watching these great widescreen movies when we were kids that were shot anamorphic. It just makes it feel like a big movie and that was something that we really,...
NYC’s IFC Center has plans to expand, and they could use your help to let city officials know you support it.
Watch Don Cheadle analyze a scene from Miles Ahead:
Xavier Dolan‘s The Death and Life of John F. Donovan begins shooting on July 9th, Le Journal de Quebec reports.
Cinematographer Jeff Cutter discusses shooting 10 Cloverfield Lane with Filmmaker Magazine:
Anamorphic lenses just have a feeling that reminded Dan and I of what it used to be like watching these great widescreen movies when we were kids that were shot anamorphic. It just makes it feel like a big movie and that was something that we really,...
- 4/4/2016
- by TFS Staff
- The Film Stage
News.
Above: the latest issue of Interiors features an examination of the space and political dimensions of the Palazzo de Congessi in Bernardo Bertolucci's The Conformist.
The Cannes Film Festival has announced their Short Film Competition lineup as well as the 2013 Cinéfondation Selection. Jane Campion will preside over the jury that will award the Short Film Palme d'Or. A.A. Dowd has been hired as the new Film Editor for The Av Club merely a week after leaving Time Out Chicago.
Finds.
Above: one of Martín Sichetti's many incredible film still drawings (I'm sure you can guess where this image is from).
Writing for Transit, Adrian Martin looks at Justin Bieber as auteur—and expresses his preference for the "Beauty and a Beat" music video over Leviathan:
"The camera darts under water, resurfaces. Harsh wind sounds and loud distortion assault the digital camera’s in-built microphone. Drops on...
Above: the latest issue of Interiors features an examination of the space and political dimensions of the Palazzo de Congessi in Bernardo Bertolucci's The Conformist.
The Cannes Film Festival has announced their Short Film Competition lineup as well as the 2013 Cinéfondation Selection. Jane Campion will preside over the jury that will award the Short Film Palme d'Or. A.A. Dowd has been hired as the new Film Editor for The Av Club merely a week after leaving Time Out Chicago.
Finds.
Above: one of Martín Sichetti's many incredible film still drawings (I'm sure you can guess where this image is from).
Writing for Transit, Adrian Martin looks at Justin Bieber as auteur—and expresses his preference for the "Beauty and a Beat" music video over Leviathan:
"The camera darts under water, resurfaces. Harsh wind sounds and loud distortion assault the digital camera’s in-built microphone. Drops on...
- 4/17/2013
- by Adam Cook
- MUBI
Confessions, Villain, 13 Assassins, and the other winners of the 2011 Japan Academy Prize have been announced. The 34th Annual Japan Academy Prize, “often called the Japan Academy Awards or the Japanese Academy Awards, is a series of awards given annually since 1978 by the Nippon Academy-sho Association for Excellence in Japanese Film. Award categories are similar to the Academy Awards.” The award ceremony was held on February 18, 2011 at the New Takanawa Prince Hotel in Tokyo. The full listing of the 2011 Japan Academy Prize winners is below.
Picture of the Year
Kokuhaku (Confessions)
Animation of the Year
Kari-gurashi no Arietti (The Borrowers)
Director of the Year
Tetsuya Nakashima, Kokuhaku (Confessions)
Screenplay of the Year
Tetsuya Nakashima, Kokuhaku (Confessions)
Outstanding Performance by an Actor in a Leading Role
Satoshi Tsumabuki, Akunin (Villain)
Outstanding Performance by an Actress in a Leading Role
Eri Fukatsu, Akunin (Villain)
Outstanding Performance by an Actor in a Supporting Role
Akira Emoto,...
Picture of the Year
Kokuhaku (Confessions)
Animation of the Year
Kari-gurashi no Arietti (The Borrowers)
Director of the Year
Tetsuya Nakashima, Kokuhaku (Confessions)
Screenplay of the Year
Tetsuya Nakashima, Kokuhaku (Confessions)
Outstanding Performance by an Actor in a Leading Role
Satoshi Tsumabuki, Akunin (Villain)
Outstanding Performance by an Actress in a Leading Role
Eri Fukatsu, Akunin (Villain)
Outstanding Performance by an Actor in a Supporting Role
Akira Emoto,...
- 2/19/2011
- by filmbook
- Film-Book
Predators
Extras include:
Commentary by producer Robert Rodriguez and director Nimród AntalMotion ComicsMoments of ExtractionCrucifiedEvolution of the Species: Predators RebornThe ChosenFox Movie Channel presents Making a SceneDeleted and Extended ScenesTheatrical Trailer
Apocalypse Now (Full Disclosure Edition) Blu-ray
Extras include:
Apocalypse Now - original 1979 CutApocalypse Now ReduxCommentary for both versions"A Conversation with Martin Sheen" interview by Francis Ford Coppola"An Interview with John Milius" interview by Francis Ford CoppolaComplete Francis Ford Coppola interview with Roger Ebert at the 2001 Cannes Film FestivalMonkey Sampan "lost scene"Additional Scenes"Destruction of the Kurtz Compound" end credits with audio commentary by Francis Ford Coppola"The Hollow Men," video of Marlon Brando reading T.S. Eliot's poemThe Birth of 5.1 SoundGhost Helicopter Flyover sound effects demonstrationA Million Feet of Film: The Editing of Apocalypse NowThe Music of Apocalypse NowHeard Any Good Movies Lately? The Sound Design of Apocalypse NowThe Final MixApocalypse Then and NowThe Color Palette...
Extras include:
Commentary by producer Robert Rodriguez and director Nimród AntalMotion ComicsMoments of ExtractionCrucifiedEvolution of the Species: Predators RebornThe ChosenFox Movie Channel presents Making a SceneDeleted and Extended ScenesTheatrical Trailer
Apocalypse Now (Full Disclosure Edition) Blu-ray
Extras include:
Apocalypse Now - original 1979 CutApocalypse Now ReduxCommentary for both versions"A Conversation with Martin Sheen" interview by Francis Ford Coppola"An Interview with John Milius" interview by Francis Ford CoppolaComplete Francis Ford Coppola interview with Roger Ebert at the 2001 Cannes Film FestivalMonkey Sampan "lost scene"Additional Scenes"Destruction of the Kurtz Compound" end credits with audio commentary by Francis Ford Coppola"The Hollow Men," video of Marlon Brando reading T.S. Eliot's poemThe Birth of 5.1 SoundGhost Helicopter Flyover sound effects demonstrationA Million Feet of Film: The Editing of Apocalypse NowThe Music of Apocalypse NowHeard Any Good Movies Lately? The Sound Design of Apocalypse NowThe Final MixApocalypse Then and NowThe Color Palette...
- 10/19/2010
- by josh@reelartsy.com (Joshua dos Santos)
- Reelartsy
The story of the wandering ronin is back once again with the Akira Kurosawa’s underrated 1962 gem “Sanjuro“, a sequel to the wonderful film “Yojimbo”. Toshiro Mifune reprises his role of Sanjuro, just appearing on the screen when the nine samurai are discussing their struggle with the ‘bad’ elders in their clan. Sanjuro just pops up from another room and of course, with his amazing wit, is already involved in the scheme of things. As with the previous film, he somehow finds a way to play the role of ‘anti-hero’ with a wonderful bravado only Mifune knows how to exude on screen. This time around he takes the name Tsubaki Sanjūrō, which translates to “Thirty year-old Camellia Tree”, a little nod to the joke in the first one where he took the name of a nearby plant. And he also adds, like in the first film, that he ‘is almost forty though.
- 5/19/2010
- by James McCormick
- CriterionCast
This week I was inspired by me recent purchase of "Akira Kurosawa: Master of Cinema" to watch a pair of Kurosawa films I had yet to see and then I finally got around to watching a Coen flick I had been neglecting for quite some time.
The Man Who Wasn't There (2001) Quick Thoughts: One look at my Netflix queue tells me I've had this film at my house since December 28, 2009. It only took three months for me to find the time to sit down and give it a watch when there wasn't anything more pressing asking for my attention. I wasn't avoiding it, I had actually tried watching it a couple of times and things just sort of ... got in the way. No matter, here it is, and I finally have it under my belt and it isn't all that bad, although it seems to be the least talked about...
The Man Who Wasn't There (2001) Quick Thoughts: One look at my Netflix queue tells me I've had this film at my house since December 28, 2009. It only took three months for me to find the time to sit down and give it a watch when there wasn't anything more pressing asking for my attention. I wasn't avoiding it, I had actually tried watching it a couple of times and things just sort of ... got in the way. No matter, here it is, and I finally have it under my belt and it isn't all that bad, although it seems to be the least talked about...
- 4/4/2010
- by Brad Brevet
- Rope of Silicon
Ah Tuesdays, when our new release thirst is quenched yet again.
This week from Criterion we get some more Akira Kurosawa on Blu-ray, in the form of the re-released Yojimbo and Sanjuro, in both boxed, and non-boxed form. Also receiving a re-release on Blu-ray is Terrence Malick’s Days of Heaven. We recently reported a rumor that The Thin Red Line would be receiving the Criterion Blu-ray treatment, and I can safely say that after overhearing some chatter at SXSW, it’s more than just a rumor. Finally, we’re treated to an incredible performance by James Mason in Nicholas Ray’s Bigger than Life, on both DVD and Blu-ray.
All of these releases are packed with supplemental materials, showing the DVD and Blu-ray world that Criterion will remain a name to be reckoned with, no matter how much online streaming increases.
You can find our initial post, announcing these March Releases here.
This week from Criterion we get some more Akira Kurosawa on Blu-ray, in the form of the re-released Yojimbo and Sanjuro, in both boxed, and non-boxed form. Also receiving a re-release on Blu-ray is Terrence Malick’s Days of Heaven. We recently reported a rumor that The Thin Red Line would be receiving the Criterion Blu-ray treatment, and I can safely say that after overhearing some chatter at SXSW, it’s more than just a rumor. Finally, we’re treated to an incredible performance by James Mason in Nicholas Ray’s Bigger than Life, on both DVD and Blu-ray.
All of these releases are packed with supplemental materials, showing the DVD and Blu-ray world that Criterion will remain a name to be reckoned with, no matter how much online streaming increases.
You can find our initial post, announcing these March Releases here.
- 3/22/2010
- by Ryan Gallagher
- CriterionCast
“You idiot, I’m not giving up yet. Theres a bunch of guys I have to kill first!”
So says Toshiro Mifune as the traveling ronin Sanjuro in Akira Kurosawa’s 1961 jidaigeki film Yojimbo. Mifune stars as Kuwabatake Sanjuro (which means Mulberry Field thirty-year-old, but he tends to take the surname from whatever plant is near him at the time of giving his name). Even though this is a period film with a master less samurai who travels from town to town, looking for food and drink, it feels as if it’s from a time that never was.
Sanjuro finds out the town is overrun by two warring factions, one led by Seibei who is the town brothel owner and the other led by Ushitora, the sake brewer. They’ve been at odds for many years and there seems to be no end in sight from the endless killing...
So says Toshiro Mifune as the traveling ronin Sanjuro in Akira Kurosawa’s 1961 jidaigeki film Yojimbo. Mifune stars as Kuwabatake Sanjuro (which means Mulberry Field thirty-year-old, but he tends to take the surname from whatever plant is near him at the time of giving his name). Even though this is a period film with a master less samurai who travels from town to town, looking for food and drink, it feels as if it’s from a time that never was.
Sanjuro finds out the town is overrun by two warring factions, one led by Seibei who is the town brothel owner and the other led by Ushitora, the sake brewer. They’ve been at odds for many years and there seems to be no end in sight from the endless killing...
- 3/20/2010
- by James McCormick
- CriterionCast
DVD Rating: 4.0/5.0 Chicago – I’m not sure, but I think there are more Akira Kurosawa titles available in the Criterion Collection than any other filmmaker. His classic films like “Ran,” “Rashomon,” “Seven Samurai,” and “Yojimbo” have been critically acclaimed releases for the influential series of DVDs. His 24th title in the Criterion Collection is last week’s “Dodes’da Ken,” one of the greatest directors of all time’s first film in color.
1970’s “Dodes’da Ken” came five years after the great “Red Beard” and five years before “Dersu Uzala” and a decade before “Kagemusha”. The film was made at a tumultuous time in Kurosawa’s personal life and was critically panned in his home country despite being nominated for an Academy Award for Best Foreign Film.
Dodes’da Ken was released on DVD on March 17th, 2009.
Photo credit: Courtesy of the Criterion Collection
According to some sources, the...
1970’s “Dodes’da Ken” came five years after the great “Red Beard” and five years before “Dersu Uzala” and a decade before “Kagemusha”. The film was made at a tumultuous time in Kurosawa’s personal life and was critically panned in his home country despite being nominated for an Academy Award for Best Foreign Film.
Dodes’da Ken was released on DVD on March 17th, 2009.
Photo credit: Courtesy of the Criterion Collection
According to some sources, the...
- 3/24/2009
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
When it comes to Akira Kurosawa I have either seen or own all of his name titles including Seven Samurai, Rashomon, Ikiru, Throne of Blood, Yojimbo, Sanjuro and Ran. I have Kagemusha sitting on my coffee table ready to be viewed for the first time and outside of a few noticeable omissions I am finally ready to venture into his lesser known titles and with Criterion's latest release of Dodes'ka-den I can't think of a better place to start. This isn't to say Dodes'ka-den is any kind of masterpiece, because it's not, but the instances surrounding Dodes'ka-den and how it came to be are utterly fascinating and opened up a side of Kurosawa I had never known. Serving as Kurosawa's first attempt at a color film, Dodes'ka-den also marked his first feature in five years following Red Beard in 1965. In those five years Kurosawa would put in work on...
- 3/17/2009
- by Brad Brevet
- Rope of Silicon
CompetitionBERLIN -- Kabei -- Our Mother, the latest blockbuster from prolific director Yoji Yamada (Love and Honor, the Tora-san series) is not as artistically refined as his Samurai trilogy, but hits all the right spots to make you cry like chopping onions. Just as Yamada modernized the samurai genre by making his heroes family men and struggling breadwinners facing professional restructuring, Kabei authenticates Japan's wartime history by showing in quietly chilling detail how foreign aggression aside, the nation also turned on her own citizens who expressed dissident ideas. The film is adapted from the best-selling autobiography of Teruyo Nogami, who was script supervisor for several of Akira Kurosawa's films.
Domestically, Kabei drew largely senior audiences. Judging from the unanimous sobbing and repeated round of applause at the Berlinale press screening, the film might find favor with a more varied age group abroad. Indeed, Yamada's lifelong celebration of ordinary people who live with dignity and forbearance in economic or political hardship could find sympathizers everywhere. Excellent production values deserve some overseas commercial theater release.
"Kabei begins in February 1940, when the Nogami sisters enjoy a meal with their gentle, doting mother and scruffy-intellectual father. At night, the police suddenly arrest father for the "thought crime" of opposing war with China in his writing. His presence of at the meal table is replaced by his photo thereon.
Yamazaki (Tadanobu Asano), Tobei's helpful student becomes a beacon in their dark days of poverty and discrimination. The rest of the film portrays mother's efforts to hold the family together, the daily indignities they suffer and their small assertions of pride. Interactions with a colorful galley of relatives and neighbors demonstrate the decency and mean-spiritedness people are capable of. Scenes of the clumsy Yamazaki crying on a prison visit, an eccentric uncle's gruff defiance of the patriotic brigade, and the community club's sheeplike emperor-worship lighten the increasing soppy narrative development.
Yamada really brings out the tear gas in a final scene set in postwar times, when the bedridden Kabei drops her stiff upper lip to mutter an emotionally devastating line. Regarded as a living icon of Japanese cinema, Sayuri Yoshinaga's performance is above reproach, but it does take major suspension of disbelief to see the 63-year-old actress as a mother of school age kids.
In a time when historical revisionism is making a comeback through films like Yamato and For Those We Love, which romanticize militarism and suicide missions, Yamada's reconnection with the classic genre of hahamono (mother-centered stories) to convey his moral indignation, is a minor version of Keisuke Kinoshita's traditional yet progressively humanist masterpieces like A Japanese Tragedy and Twenty-four Eyes.
KABEI -- OUR MOTHER
Kabei Film Partners/Shochiku Co Ltd
Credits:
Director-screenwriter: Yoji Yamada
Co-screenwriter: Emiko Hiramatsu
Based on the book by: Teruyo Nogami
Producers: Hiroshi Fukasawa, Takashi Yajima
Director of photography: Mutsuo Naganuma
Production designer: Mitsuo Degawa
Music: Isao Tomita
Costume designer: Kazuo Matsuda
Editor: Ishii Iwao
Cast:
Kayo Kabei: Sayuri Yoshinaga
Toru Yamazaki: Asano Tadanobu
Hatsuko: Mirai Shida
Teruoyo: Miku Sato
Hisako: Rei Dan
Shigeru Nogami Tobei: Bando Mitsugoro
Running time -- 133 minutes
No MPAA rating
"...
Domestically, Kabei drew largely senior audiences. Judging from the unanimous sobbing and repeated round of applause at the Berlinale press screening, the film might find favor with a more varied age group abroad. Indeed, Yamada's lifelong celebration of ordinary people who live with dignity and forbearance in economic or political hardship could find sympathizers everywhere. Excellent production values deserve some overseas commercial theater release.
"Kabei begins in February 1940, when the Nogami sisters enjoy a meal with their gentle, doting mother and scruffy-intellectual father. At night, the police suddenly arrest father for the "thought crime" of opposing war with China in his writing. His presence of at the meal table is replaced by his photo thereon.
Yamazaki (Tadanobu Asano), Tobei's helpful student becomes a beacon in their dark days of poverty and discrimination. The rest of the film portrays mother's efforts to hold the family together, the daily indignities they suffer and their small assertions of pride. Interactions with a colorful galley of relatives and neighbors demonstrate the decency and mean-spiritedness people are capable of. Scenes of the clumsy Yamazaki crying on a prison visit, an eccentric uncle's gruff defiance of the patriotic brigade, and the community club's sheeplike emperor-worship lighten the increasing soppy narrative development.
Yamada really brings out the tear gas in a final scene set in postwar times, when the bedridden Kabei drops her stiff upper lip to mutter an emotionally devastating line. Regarded as a living icon of Japanese cinema, Sayuri Yoshinaga's performance is above reproach, but it does take major suspension of disbelief to see the 63-year-old actress as a mother of school age kids.
In a time when historical revisionism is making a comeback through films like Yamato and For Those We Love, which romanticize militarism and suicide missions, Yamada's reconnection with the classic genre of hahamono (mother-centered stories) to convey his moral indignation, is a minor version of Keisuke Kinoshita's traditional yet progressively humanist masterpieces like A Japanese Tragedy and Twenty-four Eyes.
KABEI -- OUR MOTHER
Kabei Film Partners/Shochiku Co Ltd
Credits:
Director-screenwriter: Yoji Yamada
Co-screenwriter: Emiko Hiramatsu
Based on the book by: Teruyo Nogami
Producers: Hiroshi Fukasawa, Takashi Yajima
Director of photography: Mutsuo Naganuma
Production designer: Mitsuo Degawa
Music: Isao Tomita
Costume designer: Kazuo Matsuda
Editor: Ishii Iwao
Cast:
Kayo Kabei: Sayuri Yoshinaga
Toru Yamazaki: Asano Tadanobu
Hatsuko: Mirai Shida
Teruoyo: Miku Sato
Hisako: Rei Dan
Shigeru Nogami Tobei: Bando Mitsugoro
Running time -- 133 minutes
No MPAA rating
"...
- 2/14/2008
- The Hollywood Reporter - Movie News
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