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‘The Human Surge 3’ Review: An Experimental Odyssey That Bends the World With a 360-Degree Camera

J. Kim Murphy Mankind is barreling further into an age of climate disaster, but whether it has the speaking vocabulary, much less a cinematic one, to accurately interpret its rapidly changing environment is another matter. With his astonishing new experimental feature, “The Human Surge 3,” Argentine filmmaker Eduardo Williams proposes a new analogue for the sensation of modern living: It’s kind of like seeing panoramas shot with a 360-degree camera, navigated via a VR headset and then translated back to a traditional cinematic frame, completely and utterly distorting the imagery in the process.

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Japanese Film Icon Ozu Yasujiro (Finally) Set to Receive a Full-Scale Tribute in Tokyo
Patrick Frater Asia Bureau Chief Ozu Yasujiro, the leading Japanese film director behind classics including “Tokyo Story” and “Late Spring,” has had his double birth and death anniversaries – Ozu died in 1963 on the day of his 60th birthday, a little more than a year after the release of his last film “An Autumn Afternoon” – celebrated throughout 2023 at places as varied as the Cannes Film Festival, Los Angeles’ Margaret Herrick Library and the Taiwan Film & Audiovisual Institute. But it falls to October’s Tokyo International Film Festival to put on this year’s biggest and most comprehensive reconstruction of Ozu’s surprisingly varied career. Working in conjunction with the National Film Archive of Japan, the festival will present an extensive retrospective that covers almost all the films that Ozu directed (TIFF/NFAJ Classics: Ozu Yasujiro Week) from Oct. 24-29. Ozu spent his entire career, from camera assistant in 1923 to renown director in 1962, as an employee of major Japanese studio Shochiku, with all the advantages and disadvantages such an arrangement brought. While Ozu is best known for his stripped-down dramas, often centered on family relationships, sometimes troubled or contentious, involving parents and young or grown-up children, many hinging on questions of marriage, generational misunderstandings or the loneliness of the elderly, the director’s register may not entirely have been of his own choosing. “The apparent consistency of the post-war films surely owes as much to this production situation as to Ozu’s aesthetic choices,” wrote critic Tony Rayns in a recent Sight & Sound portrait.
‘A Time Called You’ director says the show “naturally deviated” from its source material
A Time Called You director Kim Jin-won has spoken about the changes of the new Netflix K-drama, as compared to its source material, the 2019 Taiwanese series Someday or One Day.In a new interview with The Korea Times, Kim opened up about how it felt like working on A Time Called You, which is a remake of the popular 2019 Taiwanese series, Someday or One Day.The director shared that because he is a “big fan” of the original series, a huge “difficulty” when it came to A Time Called You was “finding the balance between staying true to the original and carving out new identity”.“If it’s too similar, there comes a question on our series’ identity and on why we are making this series,” he said, later noting that he and screenwriter Choi Hyo-bi “didn’t deliberately try to make huge changes”.“As we go with the flow, we know it will have certain aspects of the characters that will naturally deviate,” Kim added. “There have been a lot of changes to the characters, rather than in the overall story.”Kim singled out changes to the character of Nam Si-heon, played by Ahn Hyo-seop of A Business Proposal fame, as the one that really affected the “overall tone of the series”.“I believed that creating Si-heon as more adult and mature would help to develop the story more smoothly,” the A Time Called You director added.
Japanese Erotic Classic ‘Lost Paradise’ and Cannes Best Actor Prizewinner Yakusho Koji Set for Golden Horse Festival Showcase
Patrick Frater Asia Bureau Chief Yakusho Koji, the Japanese star who was named best actor at Cannes this year in Wim Wenders’ “Perfect Days,” is set as the subject of a seven-title showcase at the upcoming Golden Horse Film Festival in Taiwan. Among the septet are classic erotic film “Lost Paradise” from 1997, this year’s “Perfect Days” and 1996 film “Shall We Dance,” which was later remade in Hollywood. A former civil servant who first ventured into Taiga drama (long-running TV series broadcast by NHK), then played in several films by Kurosawa Akira, Yakusho became a major 1990s star in Asia as a result of “Shall We Dance?,” in which he portrayed a ball room dancer, and “Lost Paradise.” He also starred in Itami Juzo’s “Tampopo.” Directed by Morita Yoshimitsu, “Lost Paradise” is a tale of a man and a woman whose marriages no longer make them happy, but who rediscover desire in each other’s arms. Fatefully, however, their newfound joy means ever greater transgression of Japan’s strict morality laws. At the time of the release of “Lost Paradise,” the producers deliberately darkened the erotic scenes to make them less explicit and to achieve less restrictive release classifications.