Saturday, March 31, 2018

Best of 2017 List



TOP 10 FILMS OF 2017

Held off on this. I haven't seen everything I wanted to that premiered in 2017 — the new ARP, the new Garrel, the new Wiseman, the new Villeneuve, other things I have blasphemously less interest in seeing. If I get more links this year I'll do better.

10.
Radiohead: “I Promise"
by Michał Marczak

9.
Snowy Bing Bongs Across the North Star Combat Zone
by Rachel Wolther and Alex H. Fischer, with Sunita Mani, Tallie Medel, and Eleanore Pienta

8.
Landline
by Gillian Robespierre

7.
Star Wars: Episode VIII: The Last Jedi
by Rian Johnson

6.
Good Time
by Josh Safdie and Benny Safdie

5.
Win It All
by Joe Swanberg

4.
Farpões baldios [Barbs Wastelands]
by Marta Mateus

3.
I Love You, Daddy
by Louis C.K.

2.
Phantom Thread
by Paul Thomas Anderson

1.
Twin Peaks: Season 3 / The Return
by David Lynch

===

Saturday, March 24, 2018

Underworld Beauty



"Do Diamonds Really Burn?"



(All images are iPhone photos taken of frames of the film playing off the Home Vision Entertainment DVD of the film.)

===

Over and over in Suzuki we'll see a bar or café with a backroom full of gangsters, but Underworld Beauty [Ankokugai no bijo, 1958] is the earliest example I can remember. This movie is ahead farther in its demimonde portrayals and youth-culture reckoning (equating the two at least in regard to material deemed ripe for cinema) than the French New Wave or Samuel Fuller, though the latter had staked a starting-point for the trajectory even as early as the mid-'50s.

A guy named Miyamoto (Michitarō Mizushima) gets out of jail, he was serving time over something to do with three chunky diamonds. (Mizushima is the best actor besides Jō Shishido in all the early Suzuki films.) His character visits his accomplice Mihara (Tōru Abe) who runs an oden stand with his sister Akiko (Mari Shiraki); Mihara took the fall that landed Miyamoto in prison, and now operates with a gimp leg. He was never a bad guy, and all these years has kept his head down in the business, even as Akiko flails like a dipso-nymph in capris, not unappealing. History repeats itself, Mihara swallows the diamonds, stashed all this time, in a deal led by Miyamoto that goes wrong, and takes another fall, off the side of a building in suicide — as much out of honor as to end his crippled existence. Akiko's lover Arita (Shinsuke Ashida) cuts the diamonds from Mihara's shrouded gullet during the vigil he holds with the body on behalf of himself and the sister, who has gone off to cope by getting shitfaced with an American sailor. When she comes back to the hospital, she cracks open Mihara's coffin and pours whiskey all over the corpse's face.

Eventually she'll come into the diamonds and tamp them down into the clay of a pre-fired mannequin's tit.

The final ten minutes find Akiko and Miyamoto ("ojisan") locked in the competitors' basement, the bad guys shooting up boiler tanks and the protagonists forced to shovel coal out a shaft to free up an escape-route. Akiko emerges onto the street; Miyamoto gets gunned down bare-backed by a detective after his offing of big-boss Ōyane (actor who?). The ending sees Miyamoto recovering in a hospital bed with the implication that he and Akiko may get something hot started yet before his time to serve. Somehow, she, and this movie, constitute an Underworld Beauty.


===

More writing at Cinemasparagus on the films of Seijun Suzuki:

Ankokugai no bijo [Underworld Beauty, 1958]

Fumi hazushita hara [Trampled Springtime, 1958]

Kage naki koe [Voice Without a Shadow, 1958]

"Jûsan-gô taihisen," yori: Sono gosôsha (w)o nerae ["Sidetrack No. Thirteen," or: Take Aim at That Police Van, 1960]

Subete ga kurutteru [Everything Goes Wrong, 1960]

Tōge (w)o wataru wakai kaze [Youthful Wind Crossing the Mountain Pass, 1961]

High-teen yakuza [Late-Teen Yakuza, 1962]

Yajû no seishun [Youth of the Beast, 1963]

Akutarō [The Bastard / The Badboy, 1963]

===

Thursday, March 22, 2018

The Bastard


New-Kid-in-Town Monogatari



(All images are details from iPhone photos taken of the film playing from the Arrow Blu-ray as included in the boxset Seijun Suzuki: The Early Years: Vol. 1: Seijun Rising: The Youth Movies.)

===

The Taishō period. Akutarō [The Bastard, maybe also The Badboy, I don't know where to come down definitively in this translation conflict, 1963] was the nickname of Tōgo Konno (Ken Yamauchi) at his former secondary-school in Kobe, where he attended as the son of a widower with upper-middle-class means before the boy's mother pulled him out to enroll him in small-town Toyooka. The Public Morals Unit, comprised of his upper-classmen, don't take kindly to strangers in dandy hakama...

It's easy to see how, in comparison to Suzuki's contemporaneous works, The Bastard might be considered, and too happily so by dilettante critics, as a prestige picture in the sense of Ford's The Informer [1935] or Naruse's Floating Clouds [Ukigumo, 1955] — both films I love, but they're well-rounded in romantic-vision and certain production values and non-angular pacings on the way to denouements (also see Mizoguchi's Sanshō-dayū [Sanshō the Steward, 1954]) that institutional awards-services might recognize them over not only the termite entries of the respective œuvres but the more stylistically flamboyant popular pictures that still draw attention in retrospectives and reissues today. That's fine. Life could be worse than experiencing masterpieces like The Informer, Floating Clouds, Sanshō-dayū, or maybe not a masterpiece but stark cinema, The Bastard. Why don't I say this is not a Suzuki masterpiece? I don't know — why haven't I said any of the films that precede it are? Some are better than this; many of those I still haven't seen (have you looked at Suzuki's filmography?); this movie's just different from what came before, and as such, and in and of itself, it's fascinating. Blob Saget was on Seth Meyers last night and he said that his show should be eventually called Fullest House when his ashes rest in an urn on a sill.

If you haven't yet seen The Bastard know that the biggest conceit involves August Strindberg's 1879 novel The Red Room [Röda rummet]. I've never read it, and didn't even know except in a few forgotten whisperings that Strindberg wrote novels — I figure this is something like how most people into Dostoevsky haven't read Poor Folk [Bednye lyudi, 1846] — but I paste this excerpt off Wikipedia from the American critic John Albert Macy in 1922: "[Strindberg] writes of [his characters' — two young critics'] unconscious inhumanity and blindness in a way that reveals his own clearness of vision and fundamental humanity. The laughter of a somber humorist has in it a tenderness unknown to merry natures." Make of that what you will.

I like the irony in the film title quite a more than a bit: with regard to Strindberg in his time of play, and with Suzuki's naming the picture The Bastard, or The Badboy, as both represent only ironical side-offerings to the straight denomination. Tōgo's a good-seed by any standard; in typical Japanese social critique of the era, it's truly the oppressors surrounding him that will drive him to pull daggers, abscond in spit — both tough attitudes. He's another drifter-savior in the Suzuki work, here of course in the guise of the transfer-student, fighting a de facto student-gestapo — the extreme manifestation in cinema of the dreams of the scenarists and Suzuki's own perceptions. The picture ends like something in a Satyajit Ray film, something from his Apu Trilogy.

In the essay that comes with the 60-page book in this Arrow boxset, writer Jasper Sharp quotes something to the effect by Shigehiko Hasumi that here everything came together for Suzuki for the first time: the actors, assistant-directors, production-designer, the cinematographer: — they made a prestige picture. As Variety would say: All tech specs primo. But who cares except season-passing 90-year-olds in the faintest of rushes to that last 90-min of distracted distraction, padded heeled, unaware of imminent pulmonary terror?



===

More writing at Cinemasparagus on the films of Seijun Suzuki:

Ankokugai no bijo [Underworld Beauty, 1958]

Fumi hazushita hara [Trampled Springtime, 1958]

Kage naki koe [Voice Without a Shadow, 1958]

"Jûsan-gô taihisen," yori: Sono gosôsha (w)o nerae ["Sidetrack No. Thirteen," or: Take Aim at That Police Van, 1960]

Subete ga kurutteru [Everything Goes Wrong, 1960]

Tōge (w)o wataru wakai kaze [Youthful Wind Crossing the Mountain Pass, 1961]

High-teen yakuza [Late-Teen Yakuza, 1962]

Yajû no seishun [Youth of the Beast, 1963]

Akutarō [The Bastard / The Badboy, 1963]

===

Friday, March 16, 2018

Late-Teen Yakuza


Rue Teens!



(All images are details from iPhone photos taken of the film playing from the Arrow Blu-ray as included in the boxset Seijun Suzuki: The Early Years: Vol. 1: Seijun Rising: The Youth Movies.)

===

Late-Teen Yakuza [High-teen yakuza, 1962 — aka Teenage Yakuza] unfolds upon images of construction vehicles clearing out rocks and soil dumped over ridges. For, this movie is jazz, goddammit, not your ersatz pre-Beatle rock-'n-roll: the benefitting kids want only Art Farmer, Louis Armstrong, and Don Elliott!, can't you see!, like any other Anglo brand hung on a peg! "Robin Coffee Brought to You by Chimoto," the franchise café the mother of schoolboy Jirō (Tamio Kawachi) is opening up in tandem with the expansion of this extra-Tokyo growth in small-business economic rise-of-promise: a playset for shrewd Suzuki four years before Godard's more cosmologically cogent focus on the Paris banlieues in 2 or 3 Things I Know About Her [2 ou 3 choses que je sais d'elle, 1966]. Sprinkle their faces with sea-salt or not — the shots are all diurnal! Aside from the brilliant framings and sets, a terribly ugly film... the bastard bleaching sunlight... it exposes the cowards and conformists that Jirō defends against and the extortionist delinquents he ATTACKS! in fending off this multi-block plot for which the owners thought they were signing up in solace to hunker over in perpetuity on the heels of the war...

Fictional teens cry and hiccup for the power to loaf! They might extort protection money from the conformist-cowards who took out business-loans, but Jirō comes round to offer real protection kicking the would-be-yakuzas' asses all over the curbs, arm-blocking every ridiculous haymaker-right-hook before he socks them impermanently to the dust.

Two beautiful details, that most present-day directors are incapable of equaling in their films:

(1) A cop manning a one-man-barracks, whose wife and toddler are visiting during Jirō and his buddy Yoshio's (Toshio Sugiyama) questioning. After the cop dismisses the two to go home, maybe half-an-hour later in the film, the next time we return to him (because films and scenarios work at the power of twice, not three-times), he's dandling his toddler solo near the plants before the keisatsu bungalow. And:

(2) Kazuko (Midori Tashiro) speeds into her father's udon/soba shop to make a plea, and like a pied-piper, the most popular girl in town because maybe the shittiest, all her friends follow her and clog up the windows in the background to gawk.

Late-Teen Yakuza is a beautiful and short (1 hour 12 minute) movie, and I only wish it might have ended differently: with Yoshio having already been crippled in the leg, and Jirō having suffered a similar maiming from a blade in the same spot — my wish, my wish... is that when they reconcile and pedal bicycles together during the final shot ————— both might only operate the pedals with their left feet and their right legs dangling numb off the frames...



===

More writing at Cinemasparagus on the films of Seijun Suzuki:

Ankokugai no bijo [Underworld Beauty, 1958]

Fumi hazushita hara [Trampled Springtime, 1958]

Kage naki koe [Voice Without a Shadow, 1958]

"Jûsan-gô taihisen," yori: Sono gosôsha (w)o nerae ["Sidetrack No. Thirteen," or: Take Aim at That Police Van, 1960]

Subete ga kurutteru [Everything Goes Wrong, 1960]

Tōge (w)o wataru wakai kaze [Youthful Wind Crossing the Mountain Pass, 1961]

High-teen yakuza [Late-Teen Yakuza, 1962]

Yajû no seishun [Youth of the Beast, 1963]

Akutarō [The Bastard, or The Badboy, 1963]

===

Wednesday, March 14, 2018

Youthful Wind Crossing the Mountain Pass



Variety Show



(All images are details from iPhone photos taken of the film playing from the Arrow Blu-ray as included in the boxset Seijun Suzuki: The Early Years: Vol. 1: Seijun Rising: The Youth Movies.)

===

It takes Shintarō (Kōji Wada), an economics student on sabbatical passing through a mountain village, to get the Imai Kinyō Traveling Magic Show's mojo back on track. The drifter-savior, if only there ultimately to inspire Misako Imai (Mayumi Shimizu) to follow her dream of resigning from the troupe and moving to Tokyo. A dream she'll abandon at the film's end! Youthful Wind Crossing the Mountain Pass [Tōge (w)o wataru wakai kaze, 1961 — somewhere along the line it got aka'd The Wind-of-Youth Group Crosses the Mountain] abounds with frustrated dreams, the funniest being the yakuza prohibited from killing his mark, and troupe leader Kinyō himself (Shin Morikawa) botching his projected showstopper during practice and drowning in a submerged trunk. Escape for Tokyo, escape à la Houdini, even in the case of the yakuza's mark escape through the honor of death — in the end, there's no escape at all.

A neglected treasure in Suzuki's career, Youthful Wind Crossing the Mountain Pass examines the underlying absurdity of entertaining audiences with cheap spectacle, whether that be a third-rate magic-and-striptease production, or the barking at fairground passers-by to take a chance on discounted ladies' bloomers. Like the Imai ensemble itself, Youthful Wind, and Suzuki, are caught in a transitional time bound up with tricks and strippers, mercenary promoters and gangster associates. It was this filmmaker's charge to satisfy his audience, that of the Japanese cinema of '61.


===

More writing at Cinemasparagus on the films of Seijun Suzuki:


Ankokugai no bijo [Underworld Beauty, 1958]

Fumi hazushita hara [Trampled Springtime, 1958]

Kage naki koe [Voice Without a Shadow, 1958]

"Jûsan-gô taihisen," yori: Sono gosôsha (w)o nerae ["Sidetrack No. Thirteen," or: Take Aim at That Police Van, 1960]

Subete ga kurutteru [Everything Goes Wrong, 1960]

Tōge (w)o wataru wakai kaze [Youthful Wind Crossing the Mountain Pass, 1961]

High-teen yakuza [Late-Teen Yakuza, 1962]

Yajû no seishun [Youth of the Beast, 1963]

Akutarō [The Bastard, or The Badboy, 1963]

===

Thursday, March 08, 2018

Voice Without a Shadow



She Has the Ability to Distinguish Between 300 Voices



(All images are details from iPhone photos taken of the film playing from the Arrow Blu-ray as included in the collection Nikkatsu Diamond Guys: Volume 1.)

===

"Born in Tokyo, it was assumed Suzuki would take over his father's bicycle bell-making business...."
—from Stuart Galbraith IV's essay "Voices Behind the Shadow" [2016]

I haven't come across many chroniclers of the early years of Suzuki's career who will admit that the respective films are not just entertaining genre programmers but indeed stand apart from other, albeit excellent, Nikkatsu works of the era — example: Toshio Masuda's Red Pier [Akai hatoba, 1958], also included in the Arrow set. Take Voice Without a Shadow [Kage naki koe, 1958]: it's got all mod cons: bicycle bells, dog whistles...

Asako Takahashi-Kotani works as a switchboard operator at the Maichō Shinbun. (Yôko Minamida plays Asako, whose character does not, as far as we might surmise via common practice of the time, officially carry a hyphenate-surname; she's referred to alternately with both surnames by Ishikawa, a newspaper journalist played by Diamond Guy Hideaki Nitani who knew her in earlier days.) When Ishikawa requests she connect him from the newsroom to an outside line, she plugs into the wrong number, belonging to a pawnshop where a crime in-progress can be overheard in the background as one of the perpetrators answers the phone and taunts the operator, two noh masks gazing down upon her from a calendar posted on the wall. Three years and one noh mask later, she'll recognize the crook's voice at last, now that it's emitting again from a telephone receiver: it's her husband's shifty mahjongg pal Hamazaki (Jō Shishido), who's become a fixture at the game nights her spouse has been strong-armed into hosting and pissing away his and Asako's paltry savings upon.

The latter two-thirds of the film deal with Hamazaki's murder committed shortly after Asako's epiphany, and Ishikawa's procedural gumshoeing to discover the guilty party. The clues hinge upon a specific variety of coal-dust found near the Kotani residence that's found smudged on Hamazaki's suit and within his autopsied lungs. It's later revealed that these are planted specimens: the dust in his lungs got wafted down his windpipe by way of a handfan brandished directly before his strangulated face by devil-vixen Mari (Midori Ishizuka) who, earlier the same night of Hamazaki's murder, will sit on a parlor floor and playact the choking of a pet dog before tearing the feathers off a mangy fowl.

Anyway, in the end everything's tied up in a bow, and Ishikawa gets the killer.

I'd draw attention to Suzuki's inspired technique and impeccable staging. The production design is first-rate, specifically the cramped confines of the Kotani household and the labyrinth of Mari's bungalow. There's the ill-boding flashback sequence tipped off by the framing of each shot with a canted angle, and the three-shot distorted in a shattered mirror. Lastly, a prime example of Suzuki's endeavor of keeping everything interesting through camera placement and blocking: e.g., Asako erupts into tears while engaging with Ishikawa at a café and bursts out onto the sidewalk: cut to exterior, camera on the door, Ishikawa rushes out, pauses. Pedestrians pass. It's raining...


===

More writing at Cinemasparagus on the films of Seijun Suzuki:


Ankokugai no bijo [Underworld Beauty, 1958]

Fumi hazushita hara [Trampled Springtime, 1958]

Kage naki koe [Voice Without a Shadow, 1958]

"Jûsan-gô taihisen," yori: Sono gosôsha (w)o nerae ["Sidetrack No. Thirteen," or: Take Aim at That Police Van, 1960]

Subete ga kurutteru [Everything Goes Wrong, 1960]

Tōge (w)o wataru wakai kaze [Youthful Wind Crossing the Mountain Pass, 1961]

High-teen yakuza [Late-Teen Yakuza, 1962]

Yajû no seishun [Youth of the Beast, 1963]

Akutarō [The Bastard, or The Badboy, 1963]

===

Saturday, March 03, 2018

Trampled Springtime



Bulletin Board System Nikkatsu



(All images are details from iPhone photos taken of the film playing from the Arrow Blu-ray as included in the boxset Seijun Suzuki: The Early Years: Vol. 1: Seijun Rising: The Youth Movies.)

===

There's high and low camera angles, juvenile delinquency even if approached like F-Troop, transposed though to cool, and the general spectacularization of violence. This is Suzuki in his very early years, setting himself apart from the other directors at the Nikkatsu studio not only by the audacity of implementing the shooting-script but by the suppleness and originality of his mise-en-scène that makes every shot come to life. Call to arms among rival gangs. Nobody knows this movie as Trampled Springtime: that's my translation of the original Japanese title, Fumi hazushita hara [1958], which has also been translated as The Spring That Didn't Come and, poorly as it's not even a translation, The Boy Who Came Back.

AIDE-MÉMOIRE: Keiko (Sachiko Hidari) is a newly recruited case-officer (on an extracurricular basis!) taking on her first file to assist in reforming Nobuo Kasahara (Akira Kobayashi, Nikkatsu's mega-pated, non-syncopated Jerry). The story that ensues recalls Sirk's Shockproof, with major differences.

Nobuo "throttled his dad with a necktie and induced a mass escape" from his previous reformatory, although if the images beneath the opening credits are anything to go on, this isn't quite the situation. He's got a girl named Kazue (Ruriko Asaoka), she the source of his trouble because Kajita (Jô Shishido) planted his lips on her and Nobuo went apeshit. Now free after a grueling five months or whatever, Nobuo will be guided to and fro Kazue, a schoolteacher with as gentle a demeanor as the reformist. But the bad seeds are lingering around Nobuo once again and Kajita's beer-glass is glinting in the sun.

Keiko wants Nobuo (who affectionately calls her "nee-chan" or "sister") to take up a job at his mother's workplace — she's the janitor, widow to an abusive husband... Nobuo summarily rejects the offer. He fights two of the officemates drunk at a bar. Unusual eyelines in the shots leading up to the violence. Keiko's the co-dependent angel: "I'll come up with some way to save him."

And maybe she — or rather Kazue — does, by furnishing Nobuo with the art supplies he's needed to long to make a go of a career, entryway street-caricaturist. Kazue gets duped into entering a bar where in a backroom Kajita and company attempt to chloroform and gang-rape her: a cop present gets suspicious at the comings-and-goings to the room and bursts through to break it up, upon which the gang absconds only to beat hell, an hour or so later, out of Nobuo returning with his drawing supplies in the Tokyo rain. He gets brought in for questioning and Keiko helps him beat the rap (the gang's pinning on Nobuo the chloroform-rape of Kazue — which it turns out was prevented in the nick of time). A strolling designer found his hand-painted necktie in a puddle and wants to offer him a job. Kazue and he meet up as Keiko looks on from a distance. FIN DE L'AIDE-MÉMOIRE •


===

More writing at Cinemasparagus on the films of Seijun Suzuki:


Ankokugai no bijo [Underworld Beauty, 1958]

Fumi hazushita hara [Trampled Springtime, 1958]

Kage naki koe [Voice Without a Shadow, 1958]

"Jûsan-gô taihisen," yori: Sono gosôsha (w)o nerae ["Sidetrack No. Thirteen," or: Take Aim at That Police Van, 1960]

Subete ga kurutteru [Everything Goes Wrong, 1960]

Tōge (w)o wataru wakai kaze [Youthful Wind Crossing the Mountain Pass, 1961]

High-teen yakuza [Late-Teen Yakuza, 1962]

Yajû no seishun [Youth of the Beast, 1963]

Akutarō [The Bastard, or The Badboy, 1963]

===

Monday, January 01, 2018

What I Saw in 2017

Here's the list of things I watched this past year. Can't remember what the first one was, but the last was Gillian Robespierre's Landline which is fantastic and stars the genius Jenny Slate in her best-ever-role-to-date. Looking forward to the days and months ahead especially to see the new PTA, the new Costa, the new Straub, and, of course, the monumental new Godard, Le livre d'image (Image et parole).

The best film of 2017 was obviously David Lynch's Twin Peaks — call it Season 3, The Return, or A Limited Event Series as you will.

===

2 ou 3 choses que je sais d’elle [2 or 3 Things I Know About Her] [Jean-Luc Godard, 1966]
20th Century Women [Mike Mills, 2016]
À bout de souffle [Breathless] [Jean-Luc Godard, 1959]
Alien: Resurrection [Jean-Pierre Jeunet, 1997]
Amarcord [Federico Fellini, 1973]
L’amour à mort [Love Unto Death] [Alain Resnais, 1984]
The Amputee {Version 1} [David Lynch, 1973]
The Amputee {Version 2} [David Lynch, 1973]
Anecdote [Nathan Silver, 2008]
El ángel exterminador [The Exterminating Angel] [Luis Buñuel, 1962]
Annie Hall [Woody Allen, 1977]
Applesauce [Onur Tukel, 2015]
The Asphalt Jungle [John Huston, 1950]
L’avenir [The Future / Things to Come] [Mia Hansen-Løve, 2016]
BAFICI [11] [Lisandro Alonso, 2009]
Balloonatic [Buster Keaton with Edward Cline, 1922]
Bande à part [Band of Outsiders] [Jean-Luc Godard, 1964]
Bangiku [Late Chrysanthemums] [Mikio Naruse, 1954]
Baskets: Season 1 [Jonathan Krisel and Zach Galifianakis, 2016]
Bérénice [Éric Rohmer, 1954]
The Big Cube [Tito Davison, 1969]
The Big Night [Joseph Losey, 1961]
Bir damla su [Deniz Gamze Ergüven, 2006]
Björk: “The Gate” [Andrew Thomas Huang, 2017]
The Black Cat [Edgar G. Ulmer, 1934]
The Blacksmith {Intended Theatrical Cut} [Buster Keaton with Mal St. Clair, 1922]
Blade Runner {The Final Cut} [Ridley Scott, 1982/2007]
Blossoms and Blood [Paul Thomas Anderson, 2003]
Blowup [Michelangelo Antonioni, 1966]
Blow Up of ‘Blow Up’ [Valentina Agostinis, 2016]
Borom sarret [The Wagoner] [Ousmane Sembène, 1963]
The Breaking Point [Michael Curtiz, 1950]
British Sounds (See You at Mao) [Jean-Luc Godard and Jean-Henri Roger, 1969]
Bumping into Broadway. [Hal Roach, 1919]
Cabin in the Sky [Vincente Minnelli, 1943]
Captain Blood [Michael Curtiz, 1935]
Carnival of Souls [Herk Harvey, 1962]
Carta para Serra [Letter to Serra] [Lisandro Alonso, 2011]
Catfight [Onur Tukel, 2016]
Cat People [Jacques Tourneur and Val Lewton, 1942]
Centron Corporation [Herk Harvey, 1967]
César [Marcel Pagnol, 1936]
Chantal Akerman, de cá [Chantal Akerman: From Here] [Leonardo Luiz Ferreira and Gustavo Beck, 2010]
Le chant du styrène [The Song of the Styrene] [Alain Resnais, 1958]
Charulata [Satyajit Ray, 1964]
Cheobcheob sanjung [In the Heart of the Mountains] [Hong Sang-soo, 2009]
La chienne [The Bitch] [Jean Renoir, 1931]
Cinéaste de notre temps: Sacha Guitry [Filmmaker of Our Time: Sacha Guitry] [Claude de Givray, 1965]
Cinéastes de notre temps: Carl Th. Dreyer [Filmmakers of Our Time: Carl Th. Dreyer] [Éric Rohmer, 1965]
Cinéastes de notre temps: Le celluloïd et le marbre [Filmmakers of Our Time: Celluloid and Marble] [Éric Rohmer, 1965]
Ciné Regards: Directed by Jacques Tourneur [Jean Ricaud and Jacques Manlay, 1979]
Ciné Regards: En répétant “Perceval,” un film d’Éric Rohmer [Ciné Regards: Rehearsing “Perceval,” a Film by Éric Rohmer] [Jean Douchet, 1978]
The Circle [Frank Borzage, 1925]
Citizen Kane [Orson Welles, 1941]
City Lights: John Huston [Brian Linehan, 1979]
Clouds of Sils Maria [Olivier Assayas, 2014]
Comédies et Proverbes: La femme de l’aviateur, ou “On ne saurait penser à rien” [Comedies and Proverbs: The Airline Pilot’s Wife, or: “One Wouldn’t Know How to Think of Nothing”] [Éric Rohmer, 1981]
Commando [Mark L. Lester, 1985]
The Connection [Shirley Clarke, 1961]
Cover Girl [Charles Vidor, 1944]
Creative Artists of India: I: Satyajit Ray [B. D. Garga, 1974]
Creepy [Kiyoshi Kurosawa, 2016]
Crimson Peak [Guillermo del Toro, 2015]
Cubic Limit [Manfred Mohr, 1975]
Curb Dance [Harmony Korine, 2011]
Daisy Kenyon [Otto Preminger, 1947]
Dark Night [Tim Sutton, 2016]
Dast-neveshtehaa nemisoozand [Manuscripts Don’t Burn] [Mohammad Rasoulof, 2013]
Daughters Courageous [Michael Curtiz, 1939]
David Lynch: The Art Life [Jon Nguyen, Rick Barnes, and Olivia Neergaard-Holm, 2016]
Day Dreams [Buster Keaton with Edward Cline, 1922]
Deadly Friend [Wes Craven, 1986]
Decker: Mindwipe [Eric Notarnicola and Tim Heidecker, 2017]
Decker: Unsealed [Eric Notarnicola and Tim Heidecker, 2017]
De l’autre côté [From the Other Side] [Chantal Akerman, 2002]
D’est [From the East] [Chantal Akerman, 1993]
Deutschland im Jahre Null [Germany in Year Zero] [Roberto Rossellini, 1948]
Deux hommes dans Manhattan [Two Men in Manhattan] [Jean-Pierre Melville, 1959]
Devi [The Goddess] [Satyajit Ray, 1960]
Dial M for Murder [Alfred Hitchcock, 1954]
Dimanche à Pékin [Sunday in Peking] {English-Language Version} [Chris Marker, 1956]
Downhill [Alfred Hitchcock, 1927]
Down There [Chantal Akerman, 2006]
Dracula [Tod Browning, 1931]
Dramatic Relationships [Dustin Guy Defa, 2016]
Dressed to Kill [Brian De Palma, 1980]
Drunken Master [Yuen Woo-ping, 1978]
An Eastern Westerner [Hal Roach, 1920]
Easy: Season 2 [Joe Swanberg, 2017]
Eating Raoul [Paul Bartel, 1982]
Eden [Mia Hansen-Løve, 2014]
Educators [Jay Giampietro, 2017]
The Electric House [Buster Keaton with Edward Cline, 1922]
Elle [Her] [Paul Verhoeven, 2016]
Entretien sur Pascal [Interview on Pascal] [Éric Rohmer, 1965]
L’ère industrielle: Métamorphoses du paysage [The Industrial Age: Metamorphoses of the Landscape] [Éric Rohmer, 1964]
Estes Avenue [Paul Cotter, 2005]
Une étudiante d’aujourd’hui [A Modern-Day Co-Ed] [Éric Rohmer, 1966]
Everybody Wants Some!! [Richard Linklater, 2016]
Exit Elena [Nathan Silver, 2012]
Face aux fantômes [Facing Ghosts] [Jean-Louis Comolli and Sylvie Lindeperg, 2009]
Faisons un rêve… [Let’s Make a Dream…] [Sacha Guitry, 1936]
Fallen Angel [Otto Preminger, 1945]
Falstaff (Chimes at Midnight) [Orson Welles, 1966]
Fanny [Marcel Pagnol with Marc Allégret, 1932]
Farpões baldios [Barbs Wastelands] [Marta Mateus, 2017]
Female [Michael Curtiz, 1933]
Fences [Denzel Washington, 2016]
Fermière à Montfaucon [Woman Farmer in Montfaucon] [Éric Rohmer, 1967]
Le feu follet [The Flickery Light / The Will-o’-the-Wisp] [Louis Malle, 1963]
Un film comme les autres [A Film Like the Others] [Jean-Luc Godard, 1969]
Finding Forrester [Gus Van Sant, 2000]
Flaked: Season 1 [Will Arnett and Mark Chappell, 2016]
Flaked: Season 2 [Will Arnett and Mark Chappell, 2017]
Force of Arms [Michael Curtiz, 1951]
Forever Amber [Otto Preminger, 1947]
La folie Almayer [The Almayer Folly] [Chantal Akerman, 2011]
Frances Ha [Noah Baumbach, 2012]
Freaks [Tod Browning, 1932]
Fright Night [Tom Holland, 1985]
The Front Page {Milestone’s Preferred Domestic Version} [Lewis Milestone, 1931]
The Frozen North [Buster Keaton with Edward Cline, 1922]
Fuchi ni tatsu [Standing on the Edge] [Kôji Fukada, 2016]
Fushichô [Phoenix] [Keisuke Kinoshita, 1947]
Gaslight [George Cukor, 1944]
The General [Buster Keaton with Clyde Bruckman, 1926]
Gentleman Jim [Raoul Walsh, 1942]
George Stevens: A Filmmaker’s Journey [George Stevens Jr., 1984]
Georgie Human [Andy Rector, 2017]
Get Out [Jordan Peele, 2017]
Ginza keshô [Ginza Makeup] [Mikio Naruse, 1951]
Girls: Season 6 [Lena Dunham, Jenni Konner, and Judd Apatow, 2017]
GLOW: Season 1 [Liz Flahive and Carly Mensch, et al, 2017]
God Respects Us When We Work But He Loves Us When We Dance [Les Blank, 1968]
Gold Diggers of 1933 [Mervyn LeRoy and Busby Berkeley, 1933]
Good Time [Josh Safdie and Benny Safdie, 2017]
Gorillaz: “Hallelujah Money” [Jamie Hewlett, Damon Albarn, and Giorgio Testi, 2017]
The Grandmother [David Lynch, 1970]
Gringo: The Dangerous Life of John McAfee [Nanette Burstein, 2016]
Gunga Din [George Stevens, 1939]
Haim: “Right Now” [Paul Thomas Anderson, 2017]
Hakai [Apostasy] [Keisuke Kinoshita, 1948]
Half Price: A Conversation Between Alex Ross Perry & Sean Price Williams [Adam Ginsberg and Stephen Gurewitz, 2015]
Hard Times [Walter Hill, 1975]
Harikomi [Stakeout] [Yoshitarô Nomura, 1958]
Häxan [Witches] [Benjamin Christensen, 1922]
Heaven Can Wait [Warren Beatty and Buck Henry, 1978]
He Knows You’re Alone [Armand Mastroianni, 1980]
Hidden Figures [Theodore Melfi, 2016]
L’homme et la machine [Man and Machine] [Éric Rohmer, 1967]
L’homme et les frontières: I: La notion de frontière [Man and Borders: I: The Notion of Border] [Éric Rohmer, 1968]
L’homme et les frontières: II: Une frontière aujourd’hui [Man and Borders: II: One Border Today] [Éric Rohmer, 1968]
L’homme et les gouvernements: II [Man and Governments: II] [Éric Rohmer, 1968]
L’homme et son journal [Man and His Newspaper] [Éric Rohmer, 1967]
His Girl Friday [Howard Hawks, 1940]
Hot Stuff [Zlatko Grgić, 1971]
I Don’t Belong Anywhere, le cinéma de Chantal Akerman [I Don’t Belong Anywhere: The Cinema of Chantal Akerman] [Marianne Lambert, 2015]
Ikite iru Magoroku [The Living Magoroku] [Keisuke Kinoshita, 1943]
I Love Melvin [Don Weis, 1953]
I Love You, Daddy {Toronto World-Premiere Cut} [Louis C.K., 2017]
The Immortal Story [Orson Welles, 1968]
The Invisible Man [James Whale, 1933]
Isle of the Dead [Val Lewton and Mark Robson, 1945]
Jamaica Inn [Alfred Hitchcock, 1939]
Jauja [Lisandro Alonso, 2014]
JAY-Z: “Marcy Me” [Josh Safdie and Benny Safdie, 2017]
Jazire-ye Ahani [Iron Island] [Mohammad Rasoulof, 2005]
Je t’aime je t’aime [I Love You I Love You] [Alain Resnais, 1968]
La Jetée {English-Language Version} [Chris Marker, 1963]
Jigeumeun-majgo geuttaeneun-tteullida [Right Now Wrong Then] [Hong Sang-soo, 2015]
Jîngâng jîng [The Diamond Sutra] / The Poet and Singer [Bi Gan, 2012]
Joan Crawford: The Ultimate Movie Star [Peter Fitzgerald, 2002]
Joe Mande’s Award-Winning Comedy Special [Daniel Gray Longino, 2017]
« Un jour Pina a demandé… » [“One Day Pina Asked…”] [Chantal Akerman, 1983]
Julieta [Pedro Almodóvar, 2016]
"Jûsan-gô taihisen," yori: Sono gosôsha (w)o nerae ["Sidetrack No. Thirteen," or: Take Aim at That Police Van] [Seijun Suzuki, 1960]
Just Neighbors [Harold Lloyd and Frank Terry, 1919]
Kapurush [The Coward] [Satyajit Ray, 1965]
Lady Bird [Greta Gerwig, 2017]
La La Land [Damien Chazelle, 2016]
Landline [Gillian Robespierre, 2017]
Laura [Otto Preminger, 1944]
Lemon [Janicza Bravo, 2017]
Letter to Jane: An Investigation About a Still [Jean-Luc Godard and Jean-Pierre Gorin, 1972]
Lettre de Sibérie [Letter from Siberia] {English-Language Version} [Chris Marker, 1957]
Leuchtturm des Chaos / Pharos of Chaos [Wolf-Eckhart Bühler and Manfred Blank, 1983]
Little Caesar [Mervyn LeRoy, 1931]
The Lodger: A Story of the London Fog [Alfred Hitchcock, 1927]
Lords of Dogtown [Catherine Hardwicke, 2005]
The Lost City of Z [James Gray, 2016]
Lost in America [Albert Brooks, 1985]
Louis C.K. 2017 [Louis C.K., 2017]
Louis Lumière [Éric Rohmer, 1968]
Love: Season 2 [Judd Apatow, Paul Rust, Lesley Arfin, Dean Holland, Joe Swanberg, et al, 2017]
Love Nest [Buster Keaton, 1923]
Lù biân yěcân [Roadside Picnic] / Kaili Blues [Bi Gan, 2015]
Lynch [blackANDwhite, 2007]
Mad Love [Karl Freund, 1935]
Mahanagar [The Big City] [Satyajit Ray, 1963]
A Man for All Seasons [Fred Zinnemann, 1966]
The Man from Laramie [Anthony Mann, 1955]
Maniac Cop [William Lustig, 1988]
Ma première brasse [My First Breaststroke] [Luc Moullet, 1981]
Marius [Marcel Pagnol with Alexander Korda, 1931]
Die Marquise von O… [The Marquise of O…] [Éric Rohmer, 1976]
Marseille [Jean Monti and Jean Margueritte, 1935]
La maschera del demonio [The Mask of the Devil] / The Mask of Satan [Mario Bava, 1960]
Master of None: Season 2 [Aziz Ansari, Alan Yang, Eric Wareheim, et al, 2017]
McCabe & Mrs. Miller [Robert Altman, 1971]
Meantime [Mike Leigh, 1984]
Meshi [Repast] [Mikio Naruse, 1951]
Mia madre [My Mother] [Nanni Moretti, 2015]
Mildred Pierce [Michael Curtiz, 1945]
Mogari no mori [Mogari Forest] [Naomi Kawase, 2007]
Mon père avait raison [My Father Was Right] [Sacha Guitry, 1936]
Montparnasse et Levallois, un action-film [Montparnasse and Levallois: An Action-Film] [Jean-Luc Godard, 1964/1965]
Moonlight [Barry Jenkins, 2016]
Morris from America [Chad Hartigan, 2016]
La Mort en ce jardin [Death in This Garden] [Luis Buñuel, 1956]
La mujer sin cabreza [The Headless Woman] [Lucrecia Martel, 2008]
Multiple Maniacs [John Waters, 1970]
The Mummy [Karl Freund, 1932]
Murder à la Mod [Brian De Palma, 1967]
Murder in the Private Car [Harry Beaumont, 1934]
Muriel, ou le Temps d’un retour [Muriel, or: The Time of a Return] [Alain Resnais, 1963]
Mustang [Deniz Gamze Ergüven, 2015]
My Blue Heaven [Herbert Ross, 1990]
My Darling Clementine {Pre-Release 103-Minute Ideal Version} [John Ford, 1946]
My Favorite Year [Richard Benjamin, 1982]
My Wife’s Relations [Buster Keaton with Edward Cline, 1922]
Nadja à Paris [Nadja in Paris] [Éric Rohmer, 1964]
Nancy au XVIIIe siècle [Nancy in the XVIIIth Century] [Éric Rohmer, 1968]
Nazi Agent [Jules Dassin, 1942]
The New World {The Extended Cut (Malick’s Preferred Version)} [Terrence Malick, 2005/2009]
A Night at the Opera [Sam Wood, 1935]
A Nightmare on Elm Street 3: Dream Warriors [Chuck Russell, 1987]
A Nightmare on Elm Street 4: The Dream Master [Renny Harlin, 1988]
Nile de nyu er / Daughter of the Nile [Hou Hsiao-hsien, 1987]
No Home Movie [Chantal Akerman, 2015]
La noire de… [The Black Girl from… / The Black Girl Belonging to...] [Ousmane Sembène, 1966]
Norm Macdonald: Hitler’s Dog: Gossip & Trickery [Liz Plonka, 2017]
North by Northwest [Alfred Hitchcock, 1959]
Le nouveau testament [The New Will and Testament] [Sacha Guitry, 1936]
Nuit et brouillard [Night and Fog] [Alain Resnais, 1955]
Number Seventeen [Alfred Hitchcock, 1932]
Ohayô [Good Morning] [Yasujirô Ozu, 1959]
Okaasan [Mother] [Mikio Naruse, 1952]
On Cinema at the Cinema: Season 9 [Tim Heidecker and Gregg Turkington, et al, 2017]
Orson Welles [François Reichenbach and Frédéric Rossif, 1968]
Ôsone-ke no asa [Morning for the Ôsone Family] [Keisuke Kinoshita, 1946]
Onna [A Woman] [Keisuke Kinoshita, 1948]
Ootona no miru ehon: Umarete wa mita keredo [A Picture-Book for Grown-Ups: I Was Born, But…] [Yasujirô Ozu, 1932]
Paisà [Roberto Rossellini, 1946]
Paterson [Jim Jarmusch, 2016]
Perceval le Gallois [Perceval the Welshman] [Éric Rohmer, 1978]
Personal Shopper [Olivier Assayas, 2016]
Person to Person [Dustin Guy Defa, 2017]
Place de l’Étoile [Éric Rohmer, 1964/1965]
A Place in the Sun [George Stevens, 1951]
Pleins feux sur l’assassin [Spotlights on the Murderer] [Georges Franju, 1961]
La Poison [Sacha Guitry, 1951]
Le Pont des Soupirs [The Bridge of Sighs] [Jean-Luc Godard, 2014]
Possessed [Clarence Brown, 1931]
Post-face à ‘Boudu sauvé des eaux’ [Looking Back on ‘Boudu sauvé des eaux’] [Éric Rohmer, 1968]
Post-face à l’’Atalante’ [Looking Back on ‘L’Atalante’] [Éric Rohmer, 1968]
Pravda [Jean-Luc Godard and Jean-Henri Roger, 1969]
Présentation, ou Charlotte et son steak [Presentation, or: Charlotte and Her Steak] [Éric Rohmer, 1961]
Procès de Jeanne d’Arc [Trial of Jeanne d’Arc] [Robert Bresson, 1962]
Psycho [Alfred Hitchcock, 1960]
Punch-Drunk Love [Paul Thomas Anderson, 2002]
Queen of Earth [Alex Ross Perry, 2015]
Rabindranath Tagore [Satyajit Ray, 1961]
Radiohead: “I Promise” [Michał Marczak, 2017]
Radiohead: “Lift” [Oscar Hudson, 2017]
Radiohead: “Man of War” [Colin Read, 2017]
Rebirth: John Ford: ‘Two Rode Together’ [Tag Gallagher, 2017]
Remember the Night [Mitchell Leisen, 1940]
Remontons les Champs-Élysées [Let’s Take the Champs-Élysées] [Sacha Guitry, 1938]
Rikugun [Army] [Keisuke Kinoshita, 1944]
The River [Pare Lorentz, 1938]
Roma città aperta [Rome Open City] [Roberto Rossellini, 1945]
Le roman d’un tricheur [Novel of a Cheat] [Sacha Guitry, 1936]
A Royal Scandal [Ernst Lubitsch and Otto Preminger, 1945]
Les salauds [Bastards] [Claire Denis, 2013]
A Salute to France [Jean Renoir, 1944]
The Saga of Anatahan {Uncensored Sternberg Version} [Josef von Sternberg, 1953/1958]
Sarah Silverman: A Speck of Dust [Liam Lynch, 2017]
The Sea Hawk [Michael Curtiz, 1940]
Search Party: Season 1 [Sarah-Violet Bliss and Charles Rogers, 2016]
Sembène: The Making of African Cinema [Ngügï wa Thiong’o and Manthia Diawara, 1994]
Shadow of a Doubt [Alfred Hitchcock, 1943]
Short Cuts [Robert Altman, 1993]
Shôzô [The Portrait] [Keisuke Kinoshita, 1948]
Le signe du Lion [The Sign of Leo] [Éric Rohmer, 1959]
The Sin of Harold Diddlebock [Preston Sturges, 1947]
Six contes moraux: 1: La boulangère de Monceau [Six Moral Tales: 1: The Bakery-Girl of Monceau] [Éric Rohmer, 1962]
Six contes moraux: 2: La carrière de Suzanne [Six Moral Tales: 2: Suzanne’s Career] [Éric Rohmer, 1963]
Six contes moraux: III: Ma nuit chez Maud [Six Moral Tales: III: My Night at Maud’s] [Éric Rohmer, 1969]
Six contes moraux: IV: La collectionneuse [Six Moral Tales: IV: The Collector] [Éric Rohmer, 1967]
Six contes moraux: V: Le genou de Claire [Six Moral Tales: V: Claire’s Knee] [Éric Rohmer, 1970]
Six contes moraux: VI: L’amour, l’après-midi [Six Moral Tales: VI: Love in the Afternoon] [Éric Rohmer, 1972]
La sonate à Kreutzer [The Kreutzer Sonata] [Éric Rohmer, 1956]
The Southerner [Jean Renoir, 1945]
Snowy Bing Bongs Across the North Star Combat Zone [Rachel Wolther and Alex H. Fischer, with Sunita Mani, Tallie Medel, and Eleanore Pienta, 2017]
The Spencer Tracy Legacy: A Tribute by Katharine Hepburn [David Heeley, 1986]
Spring Breakers [Harmony Korine, 2012]
Spring Broke [Alison Ellwood, 2016]
Stalker [Andrei Tarkovsky, 1979]
Star Wars: Episode VIII: The Last Jedi [Rian Johnson, 2017]
The Stooge [Norman Taurog, 1952]
Strangers on a Train [Alfred Hitchcock, 1951]
Subete ga kurutteru [Everything Goes Wrong] [Seijun Suzuki, 1960]
Sucker {Rough Cut} [Tricia Cramer, 2017/2018]
Sud [South] [Chantal Akerman, 1999]
Swamp Thing [Wes Craven, 1982]
Swing Time [George Stevens, 1936]
Swiss Army Man [Daniel Kwan and Daniel Scheinert, 2016]
Targets [Peter Bogdanovich, 1968]
Teen kanya [Three Girls] [Satyajit Ray, 1961]
That Dog [Nick Thorburn, 2017]
This Is Martin Bonner [Chad Hartigan, 2013]
Ticks [Tony Randel, 1993]
Tim and Eric’s Bedtime Stories: Season 2 [Tim Heidecker and Eric Wareheim, 2017]
Tip Top [Serge Bozon, 2013]
T-Men [Anthony Mann, 1947]
Todd Barry: Spicy Honey [Jay Chapman, 2017]
Tôkaidô Yotsuya kaidan [Yotsuya Ghost Story in Tokaido] [Nobuo Nakagawa, 1959]
Tokkan kozô [A Straightforward Brat] [Yasujirô Ozu, 1929]
Tôkyô no chorus [Tokyo Chorus] [Yasujirô Ozu, 1931]
Toni Erdmann [Maren Ade, 2016]
Tormenting the Hen [Theodore Collatos, 2017]
Tout va bien [Everything’s Going Fine] [Jean-Luc Godard and Jean-Pierre Gorin, 1972]
The Tragedy of Othello {European Version} [Orson Welles, 1952]
The Tragedy of Othello: The Moor of Venice {US and UK Version} [Orson Welles, 1955]
The Trial [Orson Welles, 1962]
Triple 9 [John Hillcoat, 2016]
Tsuma [Wife] [Mikio Naruse, 1953]
Twin Peaks: Fire Walk with Me [David Lynch, 1992]
Twin Peaks: “Pilot” (U.S. Version) [David Lynch, 1990]
Twin Peaks: Season 1 [David Lynch, Mark Frost, et al, 1990]
Twin Peaks: Season 2 [David Lynch, Mark Frost, et al, 1991]
Twin Peaks: Season 3: The Return [David Lynch, 2017]
Two Rode Together [John Ford, 1961]
Ukigumo [Floating Clouds] [Mikio Naruse, 1955]
Unpresidented [Jay Giampietro, 2017]
Val Lewton: The Man in the Shadows [Kent Jones, 2008]
Vampyr: The Strange Adventure of Allan Gray [Carl Theodor Dreyer, 1932]
Varieté [Variety-Show] [E. A. Dupont, 1925]
Veep: Season 6 [David Mandel, et al, 2017]
Véronique et son cancre [Véronique and Her Dunce] [Éric Rohmer, 1958]
Vertigo [Alfred Hitchcock, 1958]
La vie est un roman [Life Is a Novel / Life Is a Bowl of Cherries / Life Is a Bed of Roses] [Alain Resnais, 1983]
Waga koiseshi otome [The Girl I Loved] [Keisuke Kinoshita, 1946]
Der Wald vor lauter Bäumen [The Forest at the Fore of Blustery Trees / The Forest for the Trees] [Maren Ade, 2003]
Walking [Ryan Larkin, 1968]
Wanda [Barbara Loden, 1970]
Whose Saga?: Josef von Sternberg and ‘The Saga of Anatahan’ [Tag Gallagher, 2017]
Win It All [Joe Swanberg, 2017]
The Wolf Man [George Waggner, 1941]
Woman of the Year [George Stevens, 1942]
Yabure daiko [A Broken Drum] [Keisuke Kinoshita, 1949]
Yaeji: “Drink I’m Sippin On” [Anthony Sylvester, 2017]
Yaeji: “Feel It Out” [Anthony Sylvester, 2017]
Yaeji: “Guap” [Kathy Yaeji Lee and Zachary Surprenant, 2016]
Yaeji: “Raingurl” [Kathy Yaeji Lee and Enayet Kabir, 2017]
Yama no oto [The Sound of the Mountain] [Mikio Naruse, 1954]
Yajû no seishun [Youth of the Beast] [Seijun Suzuki, 1963]
Yotsuya kaidan: Kôpen [Yotsuya Ghost Story: Second Part] [Keisuke Kinoshita, 1949]
Yotsuya kaidan: Zenpen [Yotsuya Ghost Story: First Part] [Keisuke Kinoshita, 1949]
Zangiku monogatari [The Tale of the Last Chrysanthemum] [Kenji Mizoguchi, 1939]
Zerkalo [The Mirror] [Andrei Tarkovsky, 1975]
Zero no shôten [Focal-Point Zero] [Yoshitarô Nomura, 1961]

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