Poster set designed by Sam’s Myth
“I don’t make anything but tofu…” A refreshing take on Ozu by David Fear for TimeOut NY.
Funny how things work out. I was in NY last week and had a chance to meet up with Patrick Wang for dinner and drinks. Great conversation about his film and cinema in general.
Met Patrick Wang in San Diego a few months ago. Saw his film, In the Family, last night. So, so worthy of attention. More than a feat (although it is a feat). Imagine watching the debut film of Edward Yang. His cinema needs to be supported.
New Yorker is releasing the film on Blu-Ray and DVD on June 25th. Patrick has decided to release the Blu-Ray and DVD on his own. You can pre-order a copy via Amazon.
Cannes 2013 // The Jury Prize goes to Hirokazu Kore-eda’s Like Father, Like Son.
Before Midnight // Illustrated by Jorge Gonzalez, The New Yorker (May 27, 2013)
Stranger Than Paradise (1984) // *names of the last three horses in race two
Ozu’s notebook for End of Summer (1961)
My latest in the cinema series…
Of all the recurring signatures of Malick, his use of fire and water might be the most telling, in part because there’s a significant shift between early Malick (Badlands & Days of Heaven) and late Malick. Early Malick favors fire. Late Malick favors water. In his most recent film, To the Wonder, Malick forgoes fire altogether for the first time in his career. Water reigns.
Henri Langois, On a Screening of Ozu:
I was speaking about Japanese cinema and as usual had taken along some reels of film to illustrate what I was saying. And suddenly I realised that what I was saying no longer bore any relation to what I was seeing. In showing extracts from Mizoguchi and Kurosawa and Ozu I was praising the first two at the expense of the third, whereas I discovered that Ozu virtually demolished the other two.