Kogonada

Kogonada

Рождение : , Seoul, South Korea

История

Kogonada is a South Korean-born American filmmaker known for his feature films Columbus and After Yang, as well as his video essays: short videos which analyze the content, form, and structure of films and television series generally through narration and editing. His video essays often highlight a particular aesthetic used by film directors.

Профиль

Kogonada
Kogonada
Kogonada
Kogonada
Kogonada

Фильмы

После Янга
Writer
Янг - любимая игрушка в семье Джейка - ломается и не подлежит гарантийному ремонту. Проблема в том, что Янг - это андроид, неотличимый от настоящего человека, и расстаться с ним не так то просто. Джейк обещает дочери во что бы то ни стало починить Янга, и пускается в настоящую одиссею по волнам памяти робота, который окажется куда человечнее, чем казалось...
После Янга
Editor
Янг - любимая игрушка в семье Джейка - ломается и не подлежит гарантийному ремонту. Проблема в том, что Янг - это андроид, неотличимый от настоящего человека, и расстаться с ним не так то просто. Джейк обещает дочери во что бы то ни стало починить Янга, и пускается в настоящую одиссею по волнам памяти робота, который окажется куда человечнее, чем казалось...
После Янга
Director
Янг - любимая игрушка в семье Джейка - ломается и не подлежит гарантийному ремонту. Проблема в том, что Янг - это андроид, неотличимый от настоящего человека, и расстаться с ним не так то просто. Джейк обещает дочери во что бы то ни стало починить Янга, и пускается в настоящую одиссею по волнам памяти робота, который окажется куда человечнее, чем казалось...
Once There Was Everything
Director
Kogonada looks at how the motif of doors reverberates through Robert Bresson's work.
Колумбус
Writer
Уроженец Кореи отправляется в Колумбус — городок штата Индиана, где его отец-архитектор находится в коме. Там мужчина знакомится с молодой женщиной, которая вынуждена оставаться в Колумбусе и помогать матери, бывшей наркоманке, вместо того, чтобы реализовываться самой.
Колумбус
Editor
Уроженец Кореи отправляется в Колумбус — городок штата Индиана, где его отец-архитектор находится в коме. Там мужчина знакомится с молодой женщиной, которая вынуждена оставаться в Колумбусе и помогать матери, бывшей наркоманке, вместо того, чтобы реализовываться самой.
Колумбус
Director
Уроженец Кореи отправляется в Колумбус — городок штата Индиана, где его отец-архитектор находится в коме. Там мужчина знакомится с молодой женщиной, которая вынуждена оставаться в Колумбусе и помогать матери, бывшей наркоманке, вместо того, чтобы реализовываться самой.
Way of Ozu
Director
Kogonada’s video essay showcases the similarities of the multiple films Yasujiro Ozu made in his lifetime. Ozu created a genre of his own – a way of filmmaking that was cultivated and nourished throughout Ozu’s career as a filmmaker.
Godard in Fragments
Director
In the 1960s, pioneering French New Wave filmmaker Jean-Luc Godard introduced the world to a new cinematic lexicon, generated from his innovative, auteurist style. Between 1960 and 1967 alone, he made fifteen features (beginning with his groundbreaking début, Breathless)—and it’s this period that regular Criterion Collection contributor Kogonada explores in a new video essay highlighting the iconic director’s signature themes and devices.
Dreams of Cinema
Editor
This new video essay by filmmaker Kogonada explores the many layers of director Francois Truffaut's masterpiece "Day for Night."
Dreams of Cinema
Writer
This new video essay by filmmaker Kogonada explores the many layers of director Francois Truffaut's masterpiece "Day for Night."
Dreams of Cinema
Director
This new video essay by filmmaker Kogonada explores the many layers of director Francois Truffaut's masterpiece "Day for Night."
Dreams of Cinema
Narrator
This new video essay by filmmaker Kogonada explores the many layers of director Francois Truffaut's masterpiece "Day for Night."
Restoring the Apu Trilogy
Director
In 1993, the original negatives of Satyajit Ray’s The Apu Trilogy were burned in a massive nitrate fire at a laboratory in London. Even though there were no technologies available at the time capable of fully restoring such badly damaged film elements, the Academy Film Archive held on to them. And now times have changed.
Elemental
Editor
40,000 years in the making: Kogonada's video essay created for The Connected Series.
Elemental
Director
40,000 years in the making: Kogonada's video essay created for The Connected Series.
On Solace
Editor
Filmmaker ::kogonada explores director Ingmar Bergman’s “Cries and Whispers," a film in three movements.
On Solace
Writer
Filmmaker ::kogonada explores director Ingmar Bergman’s “Cries and Whispers," a film in three movements.
On Solace
Narrator
Filmmaker ::kogonada explores director Ingmar Bergman’s “Cries and Whispers," a film in three movements.
On Solace
Director
Filmmaker ::kogonada explores director Ingmar Bergman’s “Cries and Whispers," a film in three movements.
Mirrors of Bergman
Editor
Filmmaker Kogonada reflects on women and mirrors in the films of Ingmar Bergman.
Mirrors of Bergman
Director
Filmmaker Kogonada reflects on women and mirrors in the films of Ingmar Bergman.
Auteur in Space
Editor
A video essay on how Andrei Tarkovsky’s Solaris transcends science fiction.
Auteur in Space
Director
A video essay on how Andrei Tarkovsky’s Solaris transcends science fiction.
Criterion Designs
Director
Kogonada's video essay made in conjunction with the release of Criterion Designs, a 300-page book, which features highlights from cover art commissioned by the Criterion Collection, including never-before-seen sketches and concept art.
Trick or Truth
Director
"I wanted to write a fantasy with the atomic bomb as the theme." – Nobuhiko Obayashi
The Eye & the Beholder
Editor
A visual essay for "La dolce vita," directed by Kogonada for the Criterion Collection.
The Eye & the Beholder
Director
A visual essay for "La dolce vita," directed by Kogonada for the Criterion Collection.
Eyes of Hitchcock
Editor
When characters stare at the camera in the films of Alfred Hitchcock, the look is almost always associated with the threat of death (through the eyes of a victim, a murderer, a witness). This momentary suspension between death and life is partly what makes Hitchcock the indisputable master of suspense.
Eyes of Hitchcock
Director
When characters stare at the camera in the films of Alfred Hitchcock, the look is almost always associated with the threat of death (through the eyes of a victim, a murderer, a witness). This momentary suspension between death and life is partly what makes Hitchcock the indisputable master of suspense.
Hands of Bresson
Director
A visual essay on the tactile world of Robert Bresson created for the Criterion Collection.
Wes Anderson: Centered
Editor
As is made abundantly clear by this highly entertaining supercut of Wes Anderson’s films, the creator of such modern classics as The Royal Tenenbaums, Rushmore and The Grand Budapest Hotel is a BIG fan of symmetry.
Wes Anderson: Centered
Director
As is made abundantly clear by this highly entertaining supercut of Wes Anderson’s films, the creator of such modern classics as The Royal Tenenbaums, Rushmore and The Grand Budapest Hotel is a BIG fan of symmetry.
Linklater: On Cinema and Time
Director
If cinema is the art of time, Linklater is one of its most thoughtful and engaged directors. Unlike other filmmakers identified as auteurs, Linklater’s distinction is not found on the surface of his films, in a visual style or signature shot, but rather in their DNA, as ongoing conversations with cinema, which is to say, with time itself. A visual essay produced by Sight and Sound.
What Is Neorealism?
Director
Filmmaker Kogonada unpicks what defines the Golden Age of Italian cinema with a side-by-side comparison of two edits of the same film, one according to Italian director Vittorio De Sica, and the other according to Hollywood producer David O. Selznick.
Malick: Fire & Water
Editor
Of all the recurring signatures of Malick, his use of fire and water might be the most telling, in part because there’s a significant shift between early Malick (Badlands & Days of Heaven) and later Malick (The Thin Red Line, The New World, The Tree of Life & To the Wonder). Early Malick favors fire. Later Malick favors water. In To the Wonder, Malick forgoes fire altogether for the first time in his career. Water reigns.
Malick: Fire & Water
Director
Of all the recurring signatures of Malick, his use of fire and water might be the most telling, in part because there’s a significant shift between early Malick (Badlands & Days of Heaven) and later Malick (The Thin Red Line, The New World, The Tree of Life & To the Wonder). Early Malick favors fire. Later Malick favors water. In To the Wonder, Malick forgoes fire altogether for the first time in his career. Water reigns.
The World According to Koreeda Hirokazu
Editor
The cinema of Koreeda Hirokazu is defined by moments of everyday life. Whatever potential there is for heightened drama – the suicide of a husband, a cult massacre, abandoned children – it is diffused by the familiar rhythms of everydayness. This attention to the everyday must be understood within the context of death, which plays a significant role in all of Koreeda’s films. It is death that deepens our sense of life and makes even the most mundane moment seem profound.
The World According to Koreeda Hirokazu
Director
The cinema of Koreeda Hirokazu is defined by moments of everyday life. Whatever potential there is for heightened drama – the suicide of a husband, a cult massacre, abandoned children – it is diffused by the familiar rhythms of everydayness. This attention to the everyday must be understood within the context of death, which plays a significant role in all of Koreeda’s films. It is death that deepens our sense of life and makes even the most mundane moment seem profound.
BIFA: 15 Years
Director
Against Tyranny: Video Essay on King of the Hill
Director
Video Essay on King of the Hill
Ozu: Passageways
Editor
People constantly appear walking through passageways in the films of Japanese filmmaker Yasujirō Ozu (1903-63). His art resides in the in-between spaces of modern life, in the transitory: alleys are no longer dark and threatening traps where suspense is born, but simple places of passage.
Ozu: Passageways
Director
People constantly appear walking through passageways in the films of Japanese filmmaker Yasujirō Ozu (1903-63). His art resides in the in-between spaces of modern life, in the transitory: alleys are no longer dark and threatening traps where suspense is born, but simple places of passage.
Kubrick: One-Point Perspective
Director
Kogonada's visual essay about the formalistice choices of master filmmaker Stanley Kubrick
Sounds of Aronofsky
Director
Sound in film is often complimentary. Rarely does it suggest an aesthetic of its own. The punctuating, rhythmic soundscapes of Aronofsky are the exception. They stay with you long after the film.
Tarantino: From Below
Director
Tarantino // From Below Music: Kaifuku Suru Kizu by Salyu
Wes Anderson: From Above
Editor
A visual essay that highlights top-down shots from Wes Anderson's filmography.
Wes Anderson: From Above
Director
A visual essay that highlights top-down shots from Wes Anderson's filmography.