WORK Download Film Winter In Tokyo

As a narrative with overtones of melodrama or even soap opera, Tokyo Twilight works to devastating effect in demonstrating the long-term destructive powers of well-intentioned and carefully defended lies that too often lurk behind the methods parents and families use to raise children and avoid scandal. But as is the case with other Ozu films, the points he makes extend well beyond the purely domestic sphere, into larger cultural realms involving our political, spiritual and economic lives. Though Ozu himself famously focused his attention on the contemporary Japanese milieu in which he lived, his depths of insight and penetrating examination of the human predicament allows his films to easily transcend the time and place of their setting.

David hosts the Criterion Reflections podcast, a series that reviews the films of the Criterion Collection in their chronological order of release. The series began in 2009 and those essays (covering the years 1921-1967) can be found via the website link provided below. In March 2016, the blog transferred to this site, and in August 2017, the blog changed over to a podcast format. David also contributes to other reviews and podcasts on this site. He lives near Grand Rapids, Michigan and works in social services. Twitter / Criterion Reflections

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The Tibetan-language drama centres on an argument between a father and son after a snow leopard breaks into a sheep pen and kills nine rams. It was completed before the filmmaker died in May and premiered out-of-competition at Venice before going on to screen at Toronto.

The special jury prize was awarded to political thriller Tatami by Guy Nattiv and Zar Amir, which marks the first feature to be co-directed by Iranian and Israeli filmmakers. It premiered in the Horizons strand of Venice.

Accepting both the best actress and special jury prize awards remotely from Greece, where she is filming, Amir said: The world is on fire. Iran is on fire, murdering its finest population. Palestine is on fire, murdering thousands of civilians. Israel is on fire with people being murdered. Everywhere we look, we see innocent blood and injustice, staring helplessly at the chaos we create.

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Winter in Tokyo is a 2016 Indonesian romance film directed by Fajar Bustomi and adapted from one of four season tetralogy novels by Ilana Tan. Shooting location is on Japan.[1] The film was released on 11 August 2016.[2]

Most track fans hardly need an introduction to former Oregon Duck Alexi Pappas, who represented her grandmother's native Greece in the 10K at the Rio Olympic Games, whose poem-filled Twitter feed reads like the Rupi Kaur of distance running, who studied film as an undergraduate at Dartmouth and then co-wrote and co-directed the semi-autobiographical film "TrackTown" with her fianc-slash-creative partner Jeremy Teicher ahead of the 2016 U.S. Olympic Trials.

If you still haven't seen "TrackTown," it's currently streaming on Hulu and on select American Airlines flights, where International Olympic Committee (IOC) President Thomas Bach happened to catch the film last fall. He was immediately enamored with Pappas' plucky lead character, Plum, and invited Pappas and Teicher to join the Olympic artists-in-residence program at the Pyeongchang Winter Games in South Korea, where they were tasked with writing, directing and producing a series of short films about the Olympic experience.

We envisioned this film project where an athlete would meet a volunteer, which was very true to my experience, and have a little wrinkle in time adventure with him and also meet a ton of other athletes along the way.

Alexi: It was actually more of a feeling of curiosity and familiarity with the athletes, because the Winter Olympics are much smaller than the Summer Games. In the dining hall, where we ate every day and where all the athletes eat every day, they started to recognize us and know that "this is the film crew" and it felt more like a small college campus than anything else, to me.

Jeremy: Other athletes, we would literally walk up to them in the dining hall and ask what are you doing right now. And would get them in the film a couple minutes later. Everyone in the film, everyone who speaks, was an athlete or a volunteer. Nick and Alexi were the only "outsiders," if you will.

So begins an odd and beautiful film about a pilgrimage to a desolate land, gripped by winter and inhabited by people whose customs are a mystery not only to the visitor from Japan, but to us. Early in the film, Atsushi (Masatoshi Nagase) is in an airport cab that stops so the driver can visit an isolated farmhouse. The visitor waits in the cab as long as he can bear it, and then peeks inside, where a roomful of Icelanders are performing a ritual with sheep and weird musical instruments. What are they doing? We do not have the slightest idea.

All of the films screening in this series show in prints that were at one point or another saved by private collectors. They were intended to last only through their initial runs, but instead have endured hundreds of projections, studio mergers, film exchange closures, and multiple private owners. These unlikely survivors offer us a view of what these films looked like before digital color correction and other modern restoration techniques, and are stunning examples of an incredibly complex industrial process that delighted millions.

The film shows a disastrous and abrupt climate change. Due to man-made global warming, first the Larsen B ice shelf breaks up (this did happen in the real world, see animation of satellite images - allegedly only after the authors had written it into the film). This event is used to introduce the main paleo-climatologist character, Jack Hall, who is drilling out there and narrowly escapes.

On the other hand, given the rules and constraints of the genre, it is remarkable to what extent the film-makers have tried to include some realistic background. Early in the film a UN climate conference in Delhi is shown where Jack Hall gives a talk about the possible risk of a shut-down of the North Atlantic Current. I gave a very similar talk at such a UN conference in Buenos Aires in 1998 - I even showed the same diagram. In the film talk, Hall states that a shutdown might occur in a hundred years, or a thousand, or not at all. Many real climatologists have said the same thing. In this way, what climatologists think is presented in a realistic way in the film, and it is very clear that the rapid drama that later unfolds is counter to what any climatologist expected - it's where the fiction starts.

After a preview of the film in Berlin I had the chance of a good talk with the script writer, Jeffrey Nachmanoff, and I was quite impressed how well-informed about the science and politics of global climate change he was.

I think it would be a mistake and not do the film justice if scientists simply dismiss it as nonsense. For what it is, a blockbuster movie that has to earn back 120 M$ production cost, it is probably as good as you can get. For this type of movie for a very broad audience it is actually quite subversive and manages to slip in many thought-provoking things. I'm sure people will not confuse the film with reality, they are not stupid - they will know it is a work of fiction. But I hope that it will stir their interest for the subject, and that they might take more notice when real climate change and climate policy will be discussed in future.

Festival Winners are placed on the shortlist for the Lift-Off Season Awards Nominations to be considered by the Lift-Off Jury. Season Award Nominations are screened at the prestigious John Barry cinema in Pinewood Studios. The Season Awards recognise the best films from across the Lift-Off Season.

The Official Selections are reviewed by the Judging Panel and receive scores from the attending audience throughout the festival. After the festival closes, the weighted scores are combined, and the top-scoring films are promoted into the internal 'Network Round'.

The Network Round is hosted on the Lift-Off Network Hub, where the Lift-Off Jury and Network Hub Members score the films and vote for the winners.

After the festival closes, prizes are awarded, and winning projects are placed on the Season Award Nominations Shortlist. Lift-Off Season Award Nominations are allocated by the Jury based on merit within each category.

IMPORTANT NOTE: The online festivals are NOT pay-for-vote platforms. Whilst participating filmmakers may invite their team, friends and family to participate & vote, it is encouraged that ALL attending audiences engage with as much of the content as possible and vote accordingly. We are doing our best to invite new and exciting audiences to genuine indie content - if you can encourage your audiences to do the same, we will build a wonderful network of opportunities for all, no matter where you are starting your career.

JAPAN 325 Introduction to Japanese Cinema and Media (5) A&H, DIV

Multiple genres of Japanese film, with particular attention to structures of power and representations of marginalized subjects. Films contextualized within global, national, and local historical settings, and within the development of the cinematic form.

View course details in MyPlan: JAPAN 325

JAPAN 361 Topics in Japanese Cinema and Media (5, max. 15) A&H

Introduces Japanese film through topics organized according to a specific theme or focused on a relatively limited time period. Students learn contemporary approaches to film with an emphasis on understanding them within their social and historical contexts, often through a specific interpretive methodology.