De son appartement (Jean-Claude Rousseau, 2007)
1.Retrospective and conference of Jean-Claude Rousseau @Kyoto, in Doshishya University Kanbaikan Hardy Hall & Clover Hall on 2013.10.29&31.
De son appartement, Festival, Série noire, Eaux profondes and Sous un ciel changeant were shown there. (The transcription will be published on La Furia Umana )
2.As a solo player's work, Adieu au TNS by Jean-Luc Godard (1998) is a rare forerunner for Rousseau's films. With the same angle and 3 shots (LS-MS-BS) and black screen (and footsteps) with "Adieu" "Au" "TNS", and all moving of Godard's recitation, gesture, cigar and light/shadow passing are a great elegy/documentary.
3. Cineclub series "New Century New Cinema presents Cine Argentino" @ The Film School of Tokyo & UPLINK Shibuya in Tokyo (2013.5.15~2014.2.14~?). In Japan,it is the first collective projection series of Argentine films since 1987.
We have tried to present Argentine films genealogically between 1960s and 2000s to japanese audience... (At least I had wanted to add Matías Piñeiro's Viola, Inés de Oliveira Cézar's El recuento de los daños, Albeerto Fischerman's Players vs. ángeles caídos, Leopoldo Torre Nilsson's Dias de odio, etc.)
Manuel Antin's Los venerables todos and Circe.
Rafael Filippelli's Esas cuatro notas and Música nocturna.
Leonardo Favio's El Romance del Aniceto y la Francisca.
Hugo Santiago's Invasión.
Lisandro Alonso's Los Muertos and Liverpool.
4.In japanese cinema of 2013, Kiyoshi Kurosawa's Real and Azuma Morisaki's Pecoros Goes To Meet A Mother show the end point of today's Japanese films for broader distribution.
I break them down as "nondeterministic films" of modern cinema which appeared in 1960s, as "theater=cinema films" of Straub and Rivette, and also as Godard's "films that let the audience get deconstructionalistic eyes". These 3 are interpenetration-like sets. Like Buñuel, Resnais, Bergman, and some works of Ruiz (Shattered image, Klimt), the nondeterministic films cross the border between reality, dream, past and present. Surely the audience is confused by them. But such films work on the border in fiction, not on physical space and time, so sometimes conservative producers and audiences barely permit the films. For these recent years almost of all japanese major films are made by TV (and japanese TV stations themselves fall into red as main business) and they become moderate. A lot of silly films are easy for broadcasting and forgetting. Real and Pecoros aren't best films of these directors, but they are rare exceptions for major japanese system.
5. Kunitoshi Manda's Inumichi. Manda made this new film after 7 years absence. This film was made as a workshop film with students of The Film School of Tokyo, with shooting 6 days like great american B movies. (If festival directors have eye for japanese cinema they should feature workshop films.) The film tells a story of a woman who becomes a dog of a man for resetting her relationship of work and life, then the story let me remember Losey's Secret Ceremony and Bertolucci's Last Tango but Manda's masterful and relentless direction is more closer to Fritz Lang's severe way (but more comic) even though the director and stuff mention Yasuzo Masumura and Chusei Sone. Even now I remember Manda's super 8mm masterpiece Toso No Sen Wo Hike (disappointingly lost film), so I'm very glad to see his wonderful return.