German director Wim Wenders travels to Japan to explore the world of one his “masters” in cinema, Japanese celebrated film director Yasujiro Ozu. Sequences of Wenders’ view of Japan alternates with encounters and interviews with crew and cast-members of Ozu’s films.
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I felt warm air breathing out of the screen onto my face...one of the best homages to a director I've ever seen. And the Herzog words are always funny and insightful...love seeing him speaking German for once...I always felt like if you turn on a film camera anywhere in Japan a film will get shot regardless of you trying. Maybe it's stupid, but that country just has a special landscape I don't know...cameras <3 Japan
Would make a fine quadruple bill with Sans Soleil, Cafe Lumiere, and an Ozu of your choosing. Throw in an extra Wenders feature (The Goalie's Anxiety at the Penalty Kick, perhaps) and you'll have exquisitely killed yet another all-too-deserving night or day. I could hardly believe the soundtrack wasn't by Haruomi Hosono; its melodies and sonorities alike evoked memories of nights on galactic railroads.
No.16 - A wonderful and interesting film, my first 5 star rating this year. A film essay that portrays abstract elements of modern Tokyo against the the brilliant films of Ozu and touching interviews with the people that worked with him.
Although I wish he'd spent more time interviewing the cast and crew of Ozu's films, I didn't mind the discursive quality of the documentary (but, I'm still trying to figure out why he spent so much time with the fake food makers). The "Tokyo Story" clips were too long for Ozu fans, but the last part in which he interviewed Yûharu Atsuta, Ozu's cinematographer for 35 years, was both enlightening and quite emotional.
depositing spheres, M-Sph-M', the sphere is a special species of money when money is reified beyond its existence as a privileged species of commodity. wenders is wrong about the mu on ozu's grave, especially revealed in herzog's vulgarity. rather than contributing to the proliferation of images, ozu made strictures, emptied out the frames, repeated canned narratives to reduce them to nothing, thus introducing real.