A delightful poster for the screening of Ozu’s Late Autumn at The Glasgow School of Art

The trial of Noriko // Early Summer (1951)

The task of criticism as defined by Andre Bazin: “To prolong as much as possible in the intelligence and sensibility of those who read it the original shock of the work of art.” (via Critical Condition, Kent Jones)

Alain Resnais, 1922-2014

Like you, I have forgotten.  Like you, I wanted my memory to be inconsolable, a memory of shadow and stone. I struggle for myself, everyday, with all my might, against the horror of no longer understanding the reason for remembering.  Like you, I have forgotten. Why deny the obvious need to remember? Listen to me, listen to me once more, it will start again.  // Hiroshima mon amour 

"This film is a rite of passage story of a father." // Kore-eda Hirokazu

The Long Day Closes (1992) by Terence Davies // I hope to be reading Koresky and Ehrlich on cinema for the next twenty years. Here, they discuss Davies and the new Criterion release (#694). It’s worth a few minutes of your time. Insightful and engaging. A peak into the present and future of film criticism. (If you’ve never read Koresky, you must start.)

Killer of Sheep (1979) by Charles Burnett // image via primer on African-American cinema (tip:@KeyframeDaily)

Just put up the remnants of my recent interview with Richard Linklater (where we discuss Boyhood) in light of tonight’s Sundance screening. (link)

A drawing of tofu by Ozu // “I just want to make a tray of good tofu. If people want something different, they should go to restaurants and department stores.”

Google’s doodle for Japan… splendid.

Rest in Mu. // Chishu Ryu visiting the grave of Ozu in Tokyo-ga.

David Hudson on Yi Yi: ”If cinema went looking for a Theory of Everything—and found it—it would probably look something like this.”

There was a father. // A young Ozu with his dad.

"There is something definitely sensual about her eyes." // Ozu on Yoshika Okada

 
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