Yoshishige Yoshida

An overview of the life and work of legendary Japanese filmmaker Kijû Yoshida, a notable figure of the Japanese New Wave.

A documentary about Yoshishige (Kijû) Yoshida's creative process for his most significant film, the 1969 avantgarde tour-de-force Eros + Massacre (1969).

All the feature is given prestige to by the narration in Caetano Veloso's voice, that also signs one of the segments of the project. São Paulo is the largest city of the Southern Hemisphere, with an incessant dynamics of cultural mixtures, with immigrants of all the world and migrants of all parts of Brazil. The gathering of these peculiarities are seen through the 13 film directors's sensibilities and their segments.

Three women who share memories of the Hiroshima disaster try to uncover the hidden family ties that may or may not bind them together.

Three women who share memories of the Hiroshima disaster try to uncover the hidden family ties that may or may not bind them together.

Three women who share memories of the Hiroshima disaster try to uncover the hidden family ties that may or may not bind them together.

Three women who share memories of the Hiroshima disaster try to uncover the hidden family ties that may or may not bind them together.

40 international directors were asked to make a short film using the original Cinematographe invented by the Lumière Brothers, working under conditions similar to those of 1895. There were three rules: (1) The film could be no longer than 52 seconds, (2) no synchronized sound was permitted, and (3) no more than three takes.

A documentary about cinematographer Gabriel Veyre's adventures introducing cinema to Japan and South America. Veyre was a traveling cameraman for the Lumiere Co. He declared cinema dead only 2 years after it's inception after he saw a villager jerk a woman's head to face the camera when he was filming a small group of them.

A documentary about cinematographer Gabriel Veyre's adventures introducing cinema to Japan and South America. Veyre was a traveling cameraman for the Lumiere Co. He declared cinema dead only 2 years after it's inception after he saw a villager jerk a woman's head to face the camera when he was filming a small group of them.

A documentary about cinematographer Gabriel Veyre's adventures introducing cinema to Japan and South America. Veyre was a traveling cameraman for the Lumiere Co. He declared cinema dead only 2 years after it's inception after he saw a villager jerk a woman's head to face the camera when he was filming a small group of them.

A documentary about cinematographer Gabriel Veyre's adventures introducing cinema to Japan and South America. Veyre was a traveling cameraman for the Lumiere Co. He declared cinema dead only 2 years after it's inception after he saw a villager jerk a woman's head to face the camera when he was filming a small group of them.

Yoshida grew close to Ozu Yasujiro during his time at Shochiku, where he was able to observe the legendary master at work. Although Yoshida and his generation outspokenly rejected the values of Ozu, Kurosawa and the older humanist filmmakers, over the years Yoshida found himself increasingly drawn back to Ozu’s films, fascinated by their unique rigor, formal language and delicate balance between comedy and tragedy. For Japanese television, Yoshida adapted his own text into a four part documentary, which he also condensed into the one hour version.

Yoshida grew close to Ozu Yasujiro during his time at Shochiku, where he was able to observe the legendary master at work. Although Yoshida and his generation outspokenly rejected the values of Ozu, Kurosawa and the older humanist filmmakers, over the years Yoshida found himself increasingly drawn back to Ozu’s films, fascinated by their unique rigor, formal language and delicate balance between comedy and tragedy. For Japanese television, Yoshida adapted his own text into a four part documentary, which he also condensed into the one hour version.

Yoshida grew close to Ozu Yasujiro during his time at Shochiku, where he was able to observe the legendary master at work. Although Yoshida and his generation outspokenly rejected the values of Ozu, Kurosawa and the older humanist filmmakers, over the years Yoshida found himself increasingly drawn back to Ozu’s films, fascinated by their unique rigor, formal language and delicate balance between comedy and tragedy. For Japanese television, Yoshida adapted his own text into a four part documentary, which he also condensed into the one hour version.

Young Kinu Yamabe is drawn to low-born Onimaru, who is vital and charismatic, but viewed by his father as a demon. After her first period, Kinu suffers the fate of any women born near the Sacred Mountain: she must leave the Mountain and serve as a priestess.

Young Kinu Yamabe is drawn to low-born Onimaru, who is vital and charismatic, but viewed by his father as a demon. After her first period, Kinu suffers the fate of any women born near the Sacred Mountain: she must leave the Mountain and serve as a priestess.

An old woman has died and her widower with dementia confesses to killing her. After this, the story goes back in time to show the events leading up to her death.

An old woman has died and her widower with dementia confesses to killing her. After this, the story goes back in time to show the events leading up to her death.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

A Documentary on the Japanese baseball player Sadaharu Oh

昭和11年に起こった2・26事件の理論的指導者として処刑された、北一輝の半生と人間ドラマを描く吉田喜重監督の問題作。失敗に終わった5・15クーデターに参加していた無名の下級兵士は右翼思想家の北に出会う。北は今行われようとしている計画の全貌を彼に打ち明けるが…。

昭和11年に起こった2・26事件の理論的指導者として処刑された、北一輝の半生と人間ドラマを描く吉田喜重監督の問題作。失敗に終わった5・15クーデターに参加していた無名の下級兵士は右翼思想家の北に出会う。北は今行われようとしている計画の全貌を彼に打ち明けるが…。

In this intricately layered Japanese film, the nature of actresses and what they gain from acting is explored. The lives of three actresses are laid bare, and scenes from their lives are woven in and out of interviews with each of them. Each of them has experienced a traumatic event which contributes to their particular enjoyment of becoming someone else in dramatic roles.

In this intricately layered Japanese film, the nature of actresses and what they gain from acting is explored. The lives of three actresses are laid bare, and scenes from their lives are woven in and out of interviews with each of them. Each of them has experienced a traumatic event which contributes to their particular enjoyment of becoming someone else in dramatic roles.

In this intricately layered Japanese film, the nature of actresses and what they gain from acting is explored. The lives of three actresses are laid bare, and scenes from their lives are woven in and out of interviews with each of them. Each of them has experienced a traumatic event which contributes to their particular enjoyment of becoming someone else in dramatic roles.

原子力機構で働く庄田力弥の家に、妻の夏那子がアユという少女を誘拐してくる。家にはアユの父親だという男が娘を連れ戻しに来るのだったが、その男はかつて前衛党で活動した力弥の同士だった。当時、彼らはアメリカ大使の誘拐を計画していたが、裏切りにより前衛党そのものが崩壊してしまったのだ。力弥はアユを犯すのだったが…。

原子力機構で働く庄田力弥の家に、妻の夏那子がアユという少女を誘拐してくる。家にはアユの父親だという男が娘を連れ戻しに来るのだったが、その男はかつて前衛党で活動した力弥の同士だった。当時、彼らはアメリカ大使の誘拐を計画していたが、裏切りにより前衛党そのものが崩壊してしまったのだ。力弥はアユを犯すのだったが…。

　松竹ヌーヴェル・ヴァーグ出身の吉田喜重監督が、大正のアナーキスト大杉栄が三角関係のもつれから刺された事件を取り上げ、大正時代と現代（昭和40年代）のそれぞれの風俗と人物たちを、時間軸と空間軸を交錯させ前衛的な手法で描いた愛と憎しみのドラマ。出演は細川俊之、岡田茉莉子。映画のモデルとなったひとりが、名誉毀損・プライバシー侵害を理由に、映画上映禁止の訴訟を起こしたことでも知られる。ちなみにこの時の請求は棄却されている。

　松竹ヌーヴェル・ヴァーグ出身の吉田喜重監督が、大正のアナーキスト大杉栄が三角関係のもつれから刺された事件を取り上げ、大正時代と現代（昭和40年代）のそれぞれの風俗と人物たちを、時間軸と空間軸を交錯させ前衛的な手法で描いた愛と憎しみのドラマ。出演は細川俊之、岡田茉莉子。映画のモデルとなったひとりが、名誉毀損・プライバシー侵害を理由に、映画上映禁止の訴訟を起こしたことでも知られる。ちなみにこの時の請求は棄却されている。

　松竹ヌーヴェル・ヴァーグ出身の吉田喜重監督が、大正のアナーキスト大杉栄が三角関係のもつれから刺された事件を取り上げ、大正時代と現代（昭和40年代）のそれぞれの風俗と人物たちを、時間軸と空間軸を交錯させ前衛的な手法で描いた愛と憎しみのドラマ。出演は細川俊之、岡田茉莉子。映画のモデルとなったひとりが、名誉毀損・プライバシー侵害を理由に、映画上映禁止の訴訟を起こしたことでも知られる。ちなみにこの時の請求は棄却されている。

ヨーロッパを旅する男と異国で暮らす人妻との恋を描いたロードムービー。博物館で見た絵に描かれていたカテドラルを求めてヨーロッパを訪れた川村は、工芸品のバイヤーとして働く直子と出会い、惹かれ始めるが…

ヨーロッパを旅する男と異国で暮らす人妻との恋を描いたロードムービー。博物館で見た絵に描かれていたカテドラルを求めてヨーロッパを訪れた川村は、工芸品のバイヤーとして働く直子と出会い、惹かれ始めるが…

In an isolated mountain resort, a woman gets involved in a love triangle between herself, her volatile lover and her ex-boyfriend, for whom she had platonic feelings.

In an isolated mountain resort, a woman gets involved in a love triangle between herself, her volatile lover and her ex-boyfriend, for whom she had platonic feelings.

Shingo and Ritsuko have a baby: Takashi. They happen to be a happy couple, but soon Ritsuko wants to know who is the true father of Takashi, born by artificial insemination.

Shingo and Ritsuko have a baby: Takashi. They happen to be a happy couple, but soon Ritsuko wants to know who is the true father of Takashi, born by artificial insemination.

As a young woman, Oriko condemned her widowed mother for openly pursuing relationships with younger men. After her mother passes away, she finds herself in an unhappy, loveless marriage and begins to understand her mother’s actions.

As a young woman, Oriko condemned her widowed mother for openly pursuing relationships with younger men. After her mother passes away, she finds herself in an unhappy, loveless marriage and begins to understand her mother’s actions.

A married woman lets her lover take naked pictures of her. The photos end up in possession of a man who starts blackmailing the couple.

A married woman lets her lover take naked pictures of her. The photos end up in possession of a man who starts blackmailing the couple.

地方都市の銀行に勤める松谷静雄は、土地の有力者・橋本伝蔵の娘・ゆみ子と婚約する。静雄の美しい母・静香は、父・高雄が若くして亡くなった後、1人で静雄を育てたのだが、若かりし母の周辺には絶えず橋本伝蔵の影が漂っていた。その記憶に苦しむ静雄は、ゆみ子との結婚が迫るなか、2人が異母兄弟ではないかと疑う・・・。地方都市の銀行に勤める松谷静雄は、土地の有力者・橋本伝蔵の娘・ゆみ子と婚約する。静雄の美しい母・静香は、父・高雄が若くして亡くなった後、1人で静雄を育てたのだが、若かりし母の周辺には絶えず橋本伝蔵の影が漂っていた。その記憶に苦しむ静雄は、ゆみ子との結婚が迫るなか、2人が異母兄弟ではないかと疑う・・・。

地方都市の銀行に勤める松谷静雄は、土地の有力者・橋本伝蔵の娘・ゆみ子と婚約する。静雄の美しい母・静香は、父・高雄が若くして亡くなった後、1人で静雄を育てたのだが、若かりし母の周辺には絶えず橋本伝蔵の影が漂っていた。その記憶に苦しむ静雄は、ゆみ子との結婚が迫るなか、2人が異母兄弟ではないかと疑う・・・。地方都市の銀行に勤める松谷静雄は、土地の有力者・橋本伝蔵の娘・ゆみ子と婚約する。静雄の美しい母・静香は、父・高雄が若くして亡くなった後、1人で静雄を育てたのだが、若かりし母の周辺には絶えず橋本伝蔵の影が漂っていた。その記憶に苦しむ静雄は、ゆみ子との結婚が迫るなか、2人が異母兄弟ではないかと疑う・・・。

歌手志望のチンピラ青年。彼の夢はアメリカへ歌の修業に行くこと。ある日、彼は麻薬中毒の兄貴分らと共にヤクザの金を強奪するが、潜伏先の地下室で仲間割れが始まり・・・。

歌手志望のチンピラ青年。彼の夢はアメリカへ歌の修業に行くこと。ある日、彼は麻薬中毒の兄貴分らと共にヤクザの金を強奪するが、潜伏先の地下室で仲間割れが始まり・・・。

Experienced shipyard worker Shimazaki gets an offer of free lodging from his employer in the company seaside rest house if he agrees to see to its running. After moving in, Shimazaki finds out that this will also mean taking care of a flock of youngsters, and he soon becomes their none-too-successful warden. At work the boys are disciplined, as soon as they return to their dormitory however they turn into an unmanageable mob.

Experienced shipyard worker Shimazaki gets an offer of free lodging from his employer in the company seaside rest house if he agrees to see to its running. After moving in, Shimazaki finds out that this will also mean taking care of a flock of youngsters, and he soon becomes their none-too-successful warden. At work the boys are disciplined, as soon as they return to their dormitory however they turn into an unmanageable mob.

Yoshida’s first big-budget production and colour film is a haunting tale of unrequited love and postwar disillusion. The story of the fatal attraction between a spineless intellectual and a strong woman is conventional, but its enactment is radically new.

Yoshida’s first big-budget production and colour film is a haunting tale of unrequited love and postwar disillusion. The story of the fatal attraction between a spineless intellectual and a strong woman is conventional, but its enactment is radically new.

The year is 1932, and a woman, whose tenant-farmer fiancé is fighting in China, is raped by the landowner's son, who has returned from the war with a crippling injury, and then forced into marriage with him. In four more chapters, presented over three decades, their children undertake their own searches for love, while the parents try to make each other as miserable as possible.

An opportunistic department store clerk gets involved with three women and attempts to manipulate them so he can move up the social ladder.

An opportunistic department store clerk gets involved with three women and attempts to manipulate them so he can move up the social ladder.

An employee in an assurance company threatens to commit suicide when management announces a massive layoff, the company uses this threat to its own advantage by turning the incident into an advertising campaign. With the success of the campaign, however, he is no longer a desperate man pointing a gun to his head, but a potential leader who wishes to take advantage of his failed suicide.

An employee in an assurance company threatens to commit suicide when management announces a massive layoff, the company uses this threat to its own advantage by turning the incident into an advertising campaign. With the success of the campaign, however, he is no longer a desperate man pointing a gun to his head, but a potential leader who wishes to take advantage of his failed suicide.

Yoshida's first feature follows the lives of young students against a background of jazz, emptiness and boredom. The plot is fairly simple: a "good-for-nothing" from a poor background falls in love with the young secretary of his rich friend's father. The woman senses good in him and tries to lead him on the right path.

Yoshida's first feature follows the lives of young students against a background of jazz, emptiness and boredom. The plot is fairly simple: a "good-for-nothing" from a poor background falls in love with the young secretary of his rich friend's father. The woman senses good in him and tries to lead him on the right path.