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今夜21:00から、日本テレビ 金曜ロードSHOW!にて、 映画『デスノート Light up the NEW world』特別版 が放送されます。まだ映画をご覧になっていない方、すでに楽しんでいただいた方、ぜひ、テレビの前で、この世界感を味わっていただけたら、と思います😙
오늘 21:00부터 일본 TV 금요 로드 SHOW! 에서 영화 '데스 노트 Light up the NEW world' 특별판이 방송됩니다. 아직 영화를 안 보셨던 분들, 이미 즐겨 보셨던 분들, 꼭 TV 앞에서 이 분위기를 맛 봐주시면 좋겠습니다😚
#デスノート#데스노트#deathnote#金曜ロードshow#映画#邦画#일본영화#japanesemovie

Reminds me of some old Japanese movie moment. #kellypettitphotography #japanesemovie #運動会 #幼稚園 #livinginjapan

MOST RECENT

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fiLmReviEw
•• Classic Film Edition ••
羅生門 [RASHŌMON] .
[1950, JAPAN - Japanese]
• Part 4 of 4 •

As the film oscillates between the divergent encounters and flashbacks experienced by the same characters, Kurosawa further displays his mastery through different styles in capturing these scenes – from large strokes of panning during the episodes in the forest to exemplify the bandit’s impetuous nature and vehement enthusiasm to be in control, to almost stagnant cameras zooming in on each of the witness as they speak right into the audience’s direction, inviting them to be the judge instead. Kurosawa manages to bring forth different faces from his cast as their roles subtly morph according to each version of the testimonials. Almost overacting in their heightened emotions, it becomes fascinating to witness how the actors effectively emote in varying situations, and further raising suspicion on their actual motives. An enthralling film that keeps you engaged throughout, deceiving in its own ways to get everyone invested in finding all the answers, only to be forced to realize that it’s impossible, and elevates the attention to larger questions instead about humanity’s fallible passion and fragile need to embellish their truths and purpose.
Rating: A
#Rashomon #AkiraKurosawa #KazuoMiyagawa #ShinobuHashimoto #RyunosukeAkutagawa #ToshiroMifune #MinoruChiaki #TakashiShimura #KichijiroUeda #MachikoKyo #MasayukiMori #Japanese #JapaneseFilm #JapaneseMovie #RashomonEffect #Classics #AsianFilm #Movie #Film #MovieReview #FilmReview

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fiLmReviEw
•• Classic Film Edition ••
羅生門 [RASHŌMON]
[1950, JAPAN - Japanese]
• Part 3 of 4 •

Kurosawa's meticulous execution in RASHŌMON’s visuals and compositions to compound his thought-provoking themes into an unconventional cinematic narrative deserves praise. The painstaking (and only notable costly) process of setting up the gargantuan Rashōmon gate in ruins along with getting fire engines to create the pelting and unforgiving downpour, become the epitomical reminder for us of the film’s premise. Rashōmon gate stands in between the city and the forest, between civilization and its antithetical world out there. The crumbling state of the gate and the merciless rain invite audience into an enclosure of constant foreboding and fragility. The forest is of purposeful significance, with its thick, distracting foliage and mottled sunlight, cleverly calculated by cinematographer KAZUO MIYAGAWA to heightened the atmospheric embodiment of entanglement in the human heart, and the occluded journey in seeking the truth.

#Rashomon #AkiraKurosawa #KazuoMiyagawa #ShinobuHashimoto #RyunosukeAkutagawa #ToshiroMifune #MinoruChiaki #TakashiShimura #KichijiroUeda #MachikoKyo #MasayukiMori #Japanese #JapaneseFilm #JapaneseMovie #RashomonEffect #Classics #AsianFilm #Movie #Film #MovieReview #FilmReview

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fiLmReviEw
•• Classic Film Edition ••
羅生門 [RASHŌMON] .
[1950, JAPAN - Japanese]
• Part 2 of 4 •

Kurosawa’s unconventional tale takes place in the eleventh century of Japan, where three men are taking refuge from a driving storm beneath Kyoto’s ruined Rashomon gate. The trio, made up of a peasant (KICHIJIRO UEDA), a woocutter (TAKASHI SHIMURA) and priest (MINORU CHIAKI), discuss a recent crime involving a samurai (MASAYUKI MORI) found dead in the forest, his wife (MACHIKO KYO) raped, and a bandit named Tajômaru (TOSHIRO MIFUNE) arrested. What makes the story captivating is how we are brought to the courtroom where witnesses share shocking and conflicting testimonials of the incident. Each testimony points to a different suspect, evoking culpability in every person present, where only two things remain consistent – a murder and a rape. As we decipher the juxtaposition of varying encounters presented, it would come to a point where we’d realize that the chronology of what actually happened in the woods is secondary. Kurosawa is inviting us to ponder on something more profound. We are thrown with notions that postulate the relativity of truth and the discordance in human nature that is mostly driven by ego. Kurosawa once shared in his autobiography, “Human beings are unable to be honest with themselves about themselves. They cannot talk about themselves without embellishing. This script portrays such human beings – the kind who cannot survive without lies to make them feel they are better people than they really are. Egoism is a sin the human being carries with him from birth; it is the most difficult to redeem. This film is like a strange picture scroll that is unrolled and displayed by the ego.” #Rashomon #AkiraKurosawa #KazuoMiyagawa #ShinobuHashimoto #RyunosukeAkutagawa #ToshiroMifune #MinoruChiaki #TakashiShimura #KichijiroUeda #MachikoKyo #MasayukiMori #Japanese #JapaneseFilm #JapaneseMovie #RashomonEffect #Classics #AsianFilm #Movie #Film #MovieReview #FilmReview

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fiLmReviEw
•• Classic Film Edition ••
羅生門 [RASHŌMON] .
[1950, JAPAN - Japanese]
• Part 1 of 4 •

When Tokyo-born filmmaker AKIRA KUROSAWA engaged with screenwriter SHINOBU HASHIMOTO to expound on RYUNOSUKE AKUTAGAWA’s two short stories, IN A GROVE and RASHŌMON, what ensued in 1950 was a phenomenon that transgressed from somewhat a risk which studios were initially reluctant to fund or distribute, to a feature-film that would eventually be considered a masterpiece which marked the entrance of Japanese cinema into the foreign markets and Western Hollywood. The unconventional, nonlinear narrative and distinguished appeal of the film RASHŌMON found its way to claim the most prestigious Golden Lion award at the 1951 Venice Film Festival, and Honorary Award for Most Outstanding Foreign Language Film at the 24th Academy Awards, catapulting Kurosawa’s career to five decades of outstanding movie making, eventually earning his place alongside iconic filmmakers like INGMAR BERGMAN and ALFRED HITCHCOCK.
#Rashomon #AkiraKurosawa #KazuoMiyagawa #ShinobuHashimoto #RyunosukeAkutagawa #ToshiroMifune #MinoruChiaki #TakashiShimura #KichijiroUeda #MachikoKyo #MasayukiMori #Japanese #JapaneseFilm #JapaneseMovie #RashomonEffect #Classics #AsianFilm #Movie #Film #MovieReview #FilmReview

#怒り #movie #japanesemovie
最近久病厭世,還有太多不如意的事。
只好躲到電影的世界。
「怒」非常好看!劇情鋪陳到三條主線的描述,甚至到故事之間到轉換都超棒。當然劇情內容也是不馬虎,看完都想買原著來看了。不愧是個個都是實力派演員,看了就是爽啊⋯⋯ #綾野剛 #個人不喜歡他 #但演的蠻好的

Se avete mediaset premium stasera sul canale premium emotion fanno due film di Hayao Miyazaki..alle 21.15 Il castello errante di Howl e alle 23.19 sempre sullo stesso canale Kiki - Consegne A Domicilio... li rifanno domani il primo alle 12:04 mentre il secondo alle 14:05 . #mediasetpremium #IlcastelloerrantediHowl #KikiConsegneADomicilio #StudioGhibli #HayaoMiyazaki #premiumcinemaemotion #anime #JapaneseFilm #JapaneseMovie

<리틀 포레스트: 여름과 가을(Little Forest: Summer & Autumn), 2014>
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오늘도 힘들었던 하루를 위로해주는 영화 한 편을 봤다.
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줄거리의 빠른 전개라든지, 어떤 흥미로운 사건이 일어나기를 기대하고 보면 안되는 영화. 하지만 바쁜 삶에 지쳐 잠깐의 여유가 필요하거나, 느림의 미학을 느껴보고 싶을 때 보면 정말 행복해지는 영화ㅎㅎ마치 일본판 삼시세끼를 보는 기분이었는데, 삼시세끼가 예능이라면 이 영화는 훨씬 조용한 다큐멘터리다.
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영화 내내 주인공 이치코와 함께 여름과 가을, 이 두 계절을 보내고 있는 느낌이 든다. 영화 속에서는 모든 것을 자급자족하며 살아가는 이치코가 음식을 만드는 과정을 하나하나 보여준다. 토마토를 수확한 날에는 토마토파스타를, 개울에서 민물고기를 잡은 날에는 생선구이를, 그리고 곡식을 수확한 날에는 사케를 만드는 과정 등(리틀 포레스트: 겨울과 봄 편도 있던데, 조만간 봐야겠다ㅎㅎ). 항상 계절별로 많은 것을 아낌없이 베풀어주는 자연에게 우리는 감사해야 해.
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아무튼, 한적하지만 아름다운 마을 코모리에서 부지런히 살아가는 이치코가 예뻐보였고, 또 한편으론 부럽기도 했다. 그리고 이치코는 항상 자기가 만든 요리를 먹기 전에 두 손을 모아 '잘 먹겠습니다'라고 인사를 하는데, 그 모습이 참 인상깊었다. 자연 앞에 고개를 숙이고, 쌀 한 톨, 열매 한 알에 감사함을 느꼈던 농부들의 겸손한 마음이 그대로 전달되는 것 같달까. (그래서 음식 남기면 안 돼)
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매서운 겨울이 점점 더 빠른 속도로 성큼성큼 다가오고 있는 요즘, 이 영화를 보고 나니 내 귀를 찡-울리게 만들던 푸른 여름의 매미소리가 더욱더 그리워졌다.
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그럼 굿밤🌝
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사진출처: 네이버 포토 스틸컷
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#영화 #영화스타그램 #무비 #무비스타그램 #일본영화 #리틀포레스트 #리틀포레스트여름과가을 #movie #moviestagram #cinema #japanesemovie #japanesefilm #littleforest #littleforestsummerandautumn

#1117
今年も11月は桐島の月。
もや〜ってじわ〜って。
伏線というか台詞にしない映像と音声で新しいメッセージを見つけた。
ヒロキ、がんばれ。
#今月だけで既に4回見たのだ
#桐島部活やめるってよ#映画#movie#japanesemovie#kacostamovie

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