by Mehdi Achouche
Watching “Night River” (also known with the better title of “Undercurrent”), you understand why director Kozaburo Yoshimura (1911-2000) has so often been compared to Kenji Mizoguchi – although that has often been at Yoshimura's expense. Both delivered post-war melodramas often centering on strong, independent-minded female characters being repressed by their families and the social order. Yoshimura (who started as Ozu's assistant director) even took over from Mizoguchi after the latter's death and directed “An Osaka Story” in 1957. The year before, he made “Night River”, penned by feminist screenwriter (and frequent Naruse collaborator) Sumie Tanaka, and adapted from a novel by Hisao Sawano. The story is set in Kyoto and can be seen as part of an informal set of melodramas that Yoshimura directed in the 1950s. These films follow the lives of hard-working women in a rapidly modernizing post-war Kyoto, including the powerful “Clothes of Deception” (1951), “Sisters...
Watching “Night River” (also known with the better title of “Undercurrent”), you understand why director Kozaburo Yoshimura (1911-2000) has so often been compared to Kenji Mizoguchi – although that has often been at Yoshimura's expense. Both delivered post-war melodramas often centering on strong, independent-minded female characters being repressed by their families and the social order. Yoshimura (who started as Ozu's assistant director) even took over from Mizoguchi after the latter's death and directed “An Osaka Story” in 1957. The year before, he made “Night River”, penned by feminist screenwriter (and frequent Naruse collaborator) Sumie Tanaka, and adapted from a novel by Hisao Sawano. The story is set in Kyoto and can be seen as part of an informal set of melodramas that Yoshimura directed in the 1950s. These films follow the lives of hard-working women in a rapidly modernizing post-war Kyoto, including the powerful “Clothes of Deception” (1951), “Sisters...
- 5/15/2024
- by Guest Writer
- AsianMoviePulse
The Berlin Film Festival has revealed a raft of titles across strands and also 33 film projects vying for coin at the coproduction market.
Selections for the topical Perspektive Deutsches Kino strand from emerging German talent include “Seven Winters in Tehran” by Steffi Niederzoll, “Elaha” by Milena Aboyan, “Ararat” by Engin Kundag, “The Kidnapping of the Bride” by Sophia Mocorrea, Fabian Stumm’s “Bones and Names,” “Long Long Kiss” by Lukas Röder, Tanja Egen’s “On Mothers and Daughters,” “Ash Wednesday,” by João Pedro Prado and Bárbara Santos, “Nuclear Nomads” by Kilian Armando Friedrich and Tizian Stromp Zargari and “Lonely Oaks” by Fabiana Fragale, Kilian Kuhlendahl and Jens Mühlhoff.
All the selected films in the strand will compete for the Heiner Carow Prize and the Compass-Perspektive-Award, both of which are endowed with €5,000.
A 4K restoration of David Cronenberg’s “Naked Lunch” will open the Berlinale Classics section, which also includes Oliver Schmitz’ “Mapantsula,...
Selections for the topical Perspektive Deutsches Kino strand from emerging German talent include “Seven Winters in Tehran” by Steffi Niederzoll, “Elaha” by Milena Aboyan, “Ararat” by Engin Kundag, “The Kidnapping of the Bride” by Sophia Mocorrea, Fabian Stumm’s “Bones and Names,” “Long Long Kiss” by Lukas Röder, Tanja Egen’s “On Mothers and Daughters,” “Ash Wednesday,” by João Pedro Prado and Bárbara Santos, “Nuclear Nomads” by Kilian Armando Friedrich and Tizian Stromp Zargari and “Lonely Oaks” by Fabiana Fragale, Kilian Kuhlendahl and Jens Mühlhoff.
All the selected films in the strand will compete for the Heiner Carow Prize and the Compass-Perspektive-Award, both of which are endowed with €5,000.
A 4K restoration of David Cronenberg’s “Naked Lunch” will open the Berlinale Classics section, which also includes Oliver Schmitz’ “Mapantsula,...
- 1/9/2023
- by Naman Ramachandran
- Variety Film + TV
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