Masaki Tamura
Nacimiento : 1939-01-26, Hirosaki, Aomori, Japan
Muerte : 2018-05-23
Historia
Masaki Tamura (たむら まさき, Tamura Masaki, 26 January 1939 – 23 May 2018) was a Japanese cinematographer.
Born in Aomori Prefecture, Tamura early on worked at Iwanami Productions (Iwanami Eiga), where. as an assistant, he helped photograph documentary films. He became a full-fledged cinematographer working on many of the documentaries of Shinsuke Ogawa. At the same time, he began photographing feature fiction films by directors such as Kazuo Kuroki, Yōichi Higashi, and Toshiya Fujita. He particularly became known for his collaborations with Mitsuo Yanagimachi. After working with many famous directors such as Juzo Itami, Sōgo Ishii, Gō Takamine, Kiyoshi Kurosawa, and Kaizō Hayashi, he began working in the 1990s with a new generation of directors, such as Nobuhiro Suwa, Naomi Kawase, and Makoto Satō. His collaborations with Shinji Aoyama were notable in his final years.
In 1982, he won the Mainichi Film Award for best cinematography for the film Farewell to the Land. The same year, he won the best cinematography award at the Yokohama Film Festival for Farewell to the Land and A Japanese Village - Furuyashikimura.
Cinematography
Ninomiya Azusa is a depressed elementary school teacher in Tokyo, who has problems both at work and in her personal life. One day, she suddenly hears a voice saying "If you go to Imore Island, you will get what you want.", so she decides to give it a try.
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Saki and Toshi were born and raised at the shabby "Drive in Gamo," located on the side of a road. Their father was a yakuza but he was kicked out of the group. Because of their father, Saki and Toshi were known as being part of the idiot family. Saki in desperation with her life became a troubled kid. She got pregnant and ran away from family. But one day, Saki who suffered from physical violence by her husband, comes back home.
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Saki and Toshi were born and raised at the shabby "Drive in Gamo," located on the side of a road. Their father was a yakuza but he was kicked out of the group. Because of their father, Saki and Toshi were known as being part of the idiot family. Saki in desperation with her life became a troubled kid. She got pregnant and ran away from family. But one day, Saki who suffered from physical violence by her husband, comes back home.
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A woman from rural Japan marries a struggling cartoonist in Tokyo. Their life is difficult before he finds success, but at least they're together.
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Haru works at a part-time job for a bookstore. Her dream is to become an illustrator and she also loves cats. One day, after a cat named Chibutomu disappears from the bookstore Haru canvasses the neighbourhood in search of Chibutomu.
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A salaryman debates selling his grandfather's land to pay off his father's debt.
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"Shadow of Sand" - Set in Tokyo in the 1980's. Yukie, a young woman lives with the vision of the lover she has murdered. After his death he continues to appear in her room. Yukie maintains her usual life, trying to avoid discovery of her crime until a new lover turns up.
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Kenji, abandonado por su madre, vive entregado a una pobre existencia realizando insignificantes trabajos, como hacer de taxista para bailarinas de bares y sus clientes. Al mismo tiempo, cuida de la hermana de un antiguo amigo que está en la cárcel y de un inmigrante ilegal. Pero su vida da un giro cuando se encuentra con Chiyoko, su madre.
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"AA" is a documentary about Akira Aida (mostly known as Aquirax Aida), a japanese music critic who introduced free jazz, improvisation, and progressive rock to Japan. It's based on interviews with 12 critics and musicians who had connections with him. This is a documentary that considers the past, present and future of improvisation.
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Kaoru, una mujer pudiente que esta perdiendo su juventud, ha abandonado el ajetreo de la ciudad para llevar una vida tranquila en una casa de la costa. Ahí se ocupa de un hombre viejo, ciego y mudo como si se tratara de un insecto, un niño o un animal de compañía. Él no puede hacer nada, así que ella le alimenta y le acompaña en sus paseos. Esta fuerte dependencia mutua ofrece a Kaoru un escape de la sociedad y le permite liberarse de las restricciones impuestas por el sentido común. La realidad es que él no parece necesitarla tanto como cree y ese pensamiento va a malograr la singular relación que mantienen, difuminando la barrera entre realidad e ilusión.
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En una mansión entre las montañas japonesas y el mar, conviven recluidos dos músicos dedicados a la creación de sonidos puros, lejos de la fama y el éxito que conocieron tiempo atrás. Es el año 2015, y las ciudades más importantes fueron diezmadas por una plaga terrible, un virus altamente contagioso que provoca en los infectados un pavor insoportable, seguido de una desesperación abrumadora, y el inevitable suicidio. Una enfermedad mortal, sin cura: el síndrome "Lemming". Algunos creen que la cura está en los sonidos puros que logran los músicos. Rodeados de una naturaleza abandonada por el hombre, los músicos comienzan a tocar.
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Three couples are staying at a lakeside cottage with their children. They want them to prepare intensely for a prestigious high school's entrance exam with the help of a private tutor. One night, one of the wives confesses to her husband that she has killed his mistress.
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Mike Yokohama es un detective privado contratado por el padre de una joven que se fue de la ciudad a una casa aislada para retirarse del mundo. Su misión es hacerla salir a tiempo para su boda. A su llegada se le asigna un número. El contacto con el mundo exterior está prohibido. Encuentra a la joven, pero esta se niega a salir...
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Commencing well-respected Nippon director Kazuo Kuroki's sixth decade behind the camera, "A Boy's Summer in 1945" (literally "A Beautiful Summer in Kirishima") is a lyric, novelistic drama set in the countryside in the last days before Japan's surrender ending WWII. Striking a welcome retro note in its languid pacing and delicate handling of seriocomic ensemble threads, handsome production is a natural for fests. It might also prove a cornerstone for retrospectives or ancillary releases of works by a helmer ("Preparation of the Festival," "Ronin-gai") who's long been appreciated at home but has won just limited attention abroad.
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The ostensible subject of this film is the growing, drying, peeling and packaging of persimmons in the tiny Japanese village of Kaminoyama. The inhabitants explain that it is the perfect combination of earth, wind and rain that makes their village’s persimmons superior to those grown anywhere else, including the village just a few miles away. The film’s larger subject, however, is the disappearance of Japan’s traditional culture, the end of a centuries-old way of life.
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Kenji Nakagami, one of the most notable Japanese writers of the post-war, died in 1992. His work reveals a strong connection to his homeland, Kishu: a mountainous region that connects to the Pacific Ocean through a river. "To The Alley" (alternative title) is a documentary about Kenji's life. Incorporating 16 mm images from the writer's personal archive and adding new footage, director Shinji Aoyama travels through the paths of the life and art of the Japanese writer.
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A successful businessman and his alcoholic wife attempt to piece together their unhappy lives and shattered marriage. Little do Nagai and Akira know that their precarious relationship will soon be transformed by a stranger, the enigmatic Keechie.
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In 1983, photographer Gocho Shigeo met an early death at the young age of 36. The view we see reflected in Gocho’s photographic images has become more profound over time since his death and has struck a chord in people’s hearts. While focusing on Gocho’s collection of photographs Self and Others, the film also visits places associated with him, creating a collage with the manuscripts, letters, photographs and voice recordings remaining in an attempt to capture “one more gesture”—a theme pursued by Gocho through photographic expression. This film is neither a critical biography nor a monograph on the photographer. Rather, we are offered a new perception. As if mesmerized, the photographs Gocho left behind captivate us in their gaze.
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En un punto indeterminado del Japón, un autobús urbano es secuestrado y sus ocupantes tomados como rehenes. Tras la intervención de la policía, el secuestrador es abatido, pero sólo tres de los pasajeros permanecen con vida.
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Rika, a bright, attractive, and driven young woman, is intent on marrying her dreamy boyfriend Seiichi Ono who is not only tall and handsome but also an up-and-coming executive. One day, Ono abruptly dumps her.
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Japanese drama set in a southern Kyushu island where dance-troupe leader Shinji (Shinji Arano) stays on as his touring troupe departs. After Shinji moves in with an old man (Nobuyoshi Tanigawa) cared for by his granddaughter (Reiko Matsuo), he becomes an apprentice to the old man's construction of a wooden boat
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Nijima, a white-collar worker, finds the man responsible for his young daughter’s murder. He tortures and interrogates the man, who maintains his innocence, before killing and burying him. He returns to his ordinary life feeling listless and hollow, until he meets an old friend who introduces him to his hapless band of hired killers.
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Después de que su hija de 8 años sea raptada y asesinada, el yakuza Miyashita (Teruyaki Kagawa) busca venganza. A él se le une un misterioso personaje (Sho Aikawa) con el fin de ayudarle.
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La vida es dura en un lejano pueblo japonés. Kozo, el cabeza de familia debe mantener en un triste entorno a su madre, esposa, sobrino e hija.
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Dos jóvenes, Yu y Kei, comparten apartamento, y es en éste donde viven momentos de placidez y complicidad aunque la presión de la vida cotidiana provoque auténticos estallidos, donde aparece lo peor de cada uno.
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Yasuo is a gangster just released from jail. Believing his boss double-crossed him, enraged Yasuo is on his way to find the boss. But before setting out for the dangerous trip, Yasuo asks Kenji to take care of his mentally challenged sister, Yuri, and a mysterious black bag.
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Three brothers, their father missing and tensions boiling, gather at their rural summer house; soon enough, they're unexpectedly joined by a female cousin.
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Resulting pic blurs the line between documentary and fiction as Yanagimachi explores the lives of a couple of groups of peddlers, and they appear to act out their personal dramas for the camera.
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Jigoku Gokurakumaru, el guerrero de las siete espadas, tiene puesto un premio muy jugoso por su cabeza. A medida que va deshaciéndose de adversarios que quieren cobrar la recompensa, continúa junto a sus cuatro ayudantes la búsqueda del fabuloso tesoro de oro que se esconde en la isla de Zipang. Pero para conseguir su objetivo deben encontrar primero la fabulosa espada de oro que hace de llave. Jigoku Gokurakumaru tendrá la compañía de Teppo Yuri, una joven que, en un principio, se había propuesto capturarlo. (FILMAFFINITY)
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A magical realist story of the legendary Okinawan hero Untamagiru participating in efforts to form an independent Okinawa before the island was returned to Japan in 1972.
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Nami posee un programa que atrae a gente que rinde culto a lo bizarro. En una de sus emisiones, recibe un sospechoso vídeo que parece mostrar el asesinato de una jovencita. Deduciendo que es una falsa snuff movie, Nami trata de dar con el autor de la cinta para emitirlo en su programa, así que decide iniciar su búsqueda en la vieja fábrica de donde proviene la cinta. Pero allí Nami y su equipo comienzan a ser masacrados uno por uno, por una misteriosa figura que ha sembrado la fábrica con trampas mortales.
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The movie compiles footage taken by Ogawa Production for a period of more than ten years after the collective moved to Magino village. Unique to this film are fictional reenactments of the history of the village in the sections titled "The Tale of Horikiri Goddess" and "The Origins of Itsutsudomoe Shrine". Ogawa combines all the techniques that were developed in his previous films to simultaneously express multiple layers of time—the temporality of rice growing and of human life, personal life histories, the history of the village, the time of the Gods, and new time created through theatrical reenactment—bring them into a unified whole. The faces of the Magino villagers appear in numerous roles transcending time and space—sometimes as individuals, sometimes as people who carry the history of the village in their memories, sometimes as storytellers reciting myths, and even as members of the crowd in the fictional sequences.
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Chief Detective KIMURA Denbei, fondly referred to as Smoky Denbei, is a legendary figure at the Metropolitan Police Department. Transferred to Denbei's Criminal Investigation Division 1, Detective KUMADA Tomekichi arrives from the Toyama Prefectural Police. KUMADA is disconcerted by Denbei's position that murderers nowadays do not need a plausible motive, but gradually adapts to Denbei's unusual methods of investigation.
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Un camionero y su compañero prueban la sopa de una viuda, y al ser de las peores que han probado nunca, la cocinera viuda les pide ayuda para mejorar en la elaboración de la sopa. Durante el proceso surgirá entre ellos el encariñamiento con la dulce viuda.
Aclamada comedia japonesa que emula el formato de western (alguien acude al rescate de una viuda que necesita ayuda) y con un toque curioso alrededor del disfrute de la comida. Una cinta que tuvo un notable éxito internacional en su día. El director Itami era un presentador de televisión reconvertido en realizador.
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Tatsuo, a reverent lumberjack, seeks to disrupt plans to build a marine park on his family land, instead promoting his traditions in reactionary ways.
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The Kobayashi family finally get the chance to move out of their tiny, cramped Tokyo apartment in favour of the suburban house of their dreams. But all is not well: the house is infested by termites and the family starts cracking up: Son Masaki is studying so obsessively for his exams that he's losing his mind; daughter Erika is oblivious of all but her forthcoming record company audition, grandfather Yasukuni starts getting World War II flashbacks and father Katsuhiko is so worried about his family's "sickness" that he thinks can only be cured by group suicide.
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Three high-school students tangle with indulgent yakuza and lackadaisical police as they set out in search of the class bully, who has been kidnapped.
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This is Ogawa Productions’ first major film from their Yamagata period. They had already started photography on Magino Village -A Tale but they were drawn to this village deep in the high country above Magino when a particularly cold bout of weather threatened crops. Inevitably, their attention strayed from the impact of weather and geography on the harvest to the “life history” of Furuyashiki Village. On the one hand, Ogawa returns to his roots by playing with the conventions of the science film. At the same time, he discovers a local, peripheral space in which to think about the nation and the state of village Japan. From this “distant perspective” in the very heart of the Japanese mountains, Ogawa discovers a village still dealing with the trauma of global warfare and struggling for survival as their children flee for the cities.
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A college student has an affair with a married, middle-aged teacher.
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Yukio is an ex-farmer working as a dump-truck driver in Kashima. Haunted by the drowning of his two young sons, whose names he has had tattooed on his back in penance, and locked in a sibling rivalry with his traditional but urbane younger brother who lives in Tokyo, Yukio has become an amphetamine-addicted loner at odds with his family, friends and colleagues.
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This rural documentary features poet Jin Makabe. Thoughts about agriculture, memories, landscapes.
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This biopic is centered on New Year's Day of 1894, when Kitamura is recovering from a suicide attempt. Japan is then under the spell of fervent patriotism because the government wants to build up public support for a war with China. Kitamura's literary friends and militant comrades come to visit. They wonder why Kitamura wants to kill himself. Kitamura at first refuses to receive them, then he sits down with them and looks back on his days as a civil rights militant, his stormy love life and his ardent but destructive desire to live literature to the full.
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In the mid-1970s, protests were waning across Japan after the Red Army scandal of Asama Cottage. In Sanrizuka, people were weary of the violence and the airport was well under construction. As for Ogawa Productions, they invited criticism by pulling out and moving to a quiet village in northern Japan. But when protesters back in Sanrizuka erected a tall tower at the end of one runway, they sent a crew to document what happened. This became the final film of the Sanrizuka Series.
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Omnibus about three actresses from different generations
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Story of the last three days in the life of Sakamoto Ryoma (1836-1867), imperial loyalist who tried to unite the Choshu and Satsuma clans and prepared the way for the Meiji Restoration (1868).
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Una jovencita llamada Yuki Kashima, nació en la cárcel en una fría noche como instrumento de una venganza, ya que su padre, fue brutalmente asesinado al ser confundido con un asesino del gobierno Meiji, suerte que también compartió su pequeño hermano. Su madre logró vengarse de uno de los asesinos, pero por ese asesinato fue condenada a cadena perpetua y para continuar su venganza, se dedicó a acostarse con todos los presos y carceleros que pudo, hasta conseguir quedar embarazada para que su hijo (que resultó ser hija) terminase la venganza por ella. Saya murió al dar a luz a la pequeña Yuki, que fue educada y brutalmente entrenada por el monje Dokai.
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Shinsuke Ogawa documentary about the life of the farmers in Heta Village opposing their resettlement due to the construction of Narita Airport.
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The third film in Ogawa Productions’ Narita/Sanrizuka series of documentaries about the resistance by farmers and activists to the construction of the Narita Airport.
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It's the mid 60s. Tokyo needs a new airport. There isn't anywhere in Tokyo to put it, so the government decides on displacing some adjacent villages. The peasants of these villages are not having it. What results is a remarkable act of protest and civil disobedience.
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In 1968 the plan by the government to construct a new international airport in the fields of Sanrizuka near Tokyo unleashed one of the most important and enduring social upheavals in the history of postwar Japan. The plan sought to evict thousands of farmers from their lands without any sort of respect for the locals’ rights. Their resistance to eviction was met with extreme violence by the police. Activists from all over the country, including thousands of students, joined with the farmers in their mounting struggle. As the combats in Sanrizuka became more intense and the numbers of police increased, the collective became more involved in the fighting. Sanrizuka: The Three Day War was what Ogawa called a “bullet film”, an immediate and powerful piece of agitprop shot in three days and intended to be seen as quickly and widely as possible. Credit: ICA London
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In 1968, Ogawa decided to form Ogawa Productions and locate it at the newly announced construction site of Narita International Airport in a district called Sanrizuka. Ogawa chose to locate his company in the most radical of the villages, Heta. Some farmers immediately sold their land; others vehemently protested and drew the support of social movements across the country. Together they clashed with riot police sent in to protect surveyors, who were plotting out the airport. Summer in Sanrizuka is a messy film – its chaos communicating the passions and actions on the ground.
