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TORA-SAN, WISH YOU WERE HERE
(Otoko wa Tsuraiyo Okaeri Tora-san)


 October 3, 2019
Q&A guests: TIFF Opening Film Director Yoji Yamada,
TIFF Festival Director Takeo Hisamatsu and Japan Now Programming Advisor Kohei Ando


FCCJ TIFFYamada KM-15
Legendary writer-director Yoji Yamada plans to keep making films for another dozen years.  ©︎Koichi Mori

The hottest cinema ticket in Japan this year is sure to be for the 32nd Tokyo International Film Festival Opening Film. Eschewing its long-held tradition of selecting foreign titles for the honor, TIFF has hewed closer to home, where audiences across the country have been eagerly awaiting the release of the 50th title in the legendary Otoko wa Tsurai yo (It's Tough Being a Man) series.

That title — Tora-san, Wish You Were Here, from veteran helmer Yoji Yamada — will open TIFF 32 on October 28, and although the film’s beloved star will not be there (he died in 1996), legions of multi-generational fans will.

The Oscar-nominated director (for The Twilight Samurai in 2002) launched the series with Tora-san, Our Lovable Tramp in 1969, when Japan was experiencing dizzying growth and audiences were nostalgic for simpler times. It proved so popular that Shochiku went on to release two Tora-san films each year until 1989, one in summer and one for the New Year’s holiday season. Eventually, 49 films hit theaters over a 28-year period, setting a world record. All but two of them were directed by Yamada and all starred Kiyoshi Atsumi as “Tora, the free-spirited fool,” a boisterous, penniless salesman who travels through a rapidly-modernizing Japan, falling in unrequited love and dispensing unwanted advice. The last entry was 22 years ago, shortly after Atsumi’s untimely death.

The 50th title has been completed in time to celebrate the 50th anniversary of this remarkable achievement. But this isn’t simply a commercial ploy for closure. With Tora-san, Wish You Were Here, Yamada has done something truly groundbreaking: the film recaptures the spirit of the “lovable vagabond” through innovative technology that seamlessly interweaves new footage with 4K digitally restored footage featuring its late star. Rather than feeling like he’s been digitally inserted into scenes, Tora-san comes vibrantly, startlingly alive, and reminds us all how much he’s been missed. (For those who haven’t followed the series, it also serves as a fitting introduction, with actors literally aging 50 years on screen.)

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Yamada shares a laugh with his old friends Ando, left, and Hisamatsu.  ©Koichi Mori

Following a very special sneak preview of Tora-san, Wish You Were Here with English subtitles at Shochiku, Yamada joined TIFF Festival Director Takeo Hisamatsu and Japan Now Programming Advisor Kohei Ando at FCCJ for a brief rundown of this year's festival, and a rewarding Q&A session focused on his new landmark film.

At the packed session, which included many foreign fans — one of whom had flown in for two days from France just to cover the event — Yamada was asked about the biggest challenge of sustaining a series for 50 years. He responded, “Audiences always come to see a new Tora-san film because they want to see him again and spend time with him, so you can’t betray their expectations, and that’s [not easy].”

And then, sounding like another famous Shochiku director (Yasujiro Ozu, who likened himself to being a tofu maker), he sketched a metaphor: “I think my job as a director, especially with this series, is a lot like being a restaurant cook, trying to anticipate what the customers want to eat. You want them to say, ‘Oh, this is exactly what I felt like eating.’ You don’t want them to leave disappointed, the same way you don’t want the audience to leave disappointed. You want them to say, ‘This is exactly the kind of film I was hoping for!’”

The master chef also spoke, with several emotional pauses, about his star: “The most difficult film to make was the 48th film. By that time, Atsumi-san had become quite sick. We knew that he might have only two or three years left. So we were in a quandary about whether we should continue to shoot. We had to keep his physical condition in mind while writing the script.” (At Atsumi’s wake, Yamada would apologize for pushing his star so relentlessly; but one imagines Tora-san was a sustaining force for the actor.)

On a brighter note, he said, “It’s been 20 years since Atsumi-san died, but if he were still here and saw the film, I think he would be surprised. I have the same sense of surprise myself. In the very first Tora-san film, there’s a scene where Tora’s little sister Sakura, played by Chieko Baisho, is being proposed to by the man she later marries. Baisho-san was 25 years old at the time, and she’s 75 now. [In the new film] the other cast members have also aged, but Tora-san has stayed the same. In a sense, he’s like Chaplin’s Little Tramp or Marilyn Monroe.” 

tora-san-0 2019 Shochiku. Ltd.    TIFF 2019
The iconic traveling salesman returns.  ©2019 Shochiku., Ltd.                                                    © 2019 TIFF

Asked how it felt to be selected for the TIFF opening slot, Yamada chose his words carefully. “There are numerous film festivals around the world, and needless to say, TIFF is the one that represents Japan. I think it’s very important for TIFF to have a certain character, a theme that differentiates it, something that people can’t find in any other festival. I hope that TIFF continues to work towards that goal so that it becomes a truly unique festival in the world.”

In fact, TIFF is differentiating itself this year by further intensifying its focus on Japanese offerings. Takeo Hisamatsu, in his third year as festival director, told the FCCJ audience, “As you know, the 32nd TIFF is being held in the first year of Japan’s new Reiwa Era. Next month, many guests will be coming from around the world for the ascension of the new emperor. We’re in the midst of the Rugby World Cup right now, and next year, we’ll host the Tokyo Olympics and Paralympics Games. So Japan is in the global spotlight, and there’s no better time than the present to showcase wonderful films from Japan in this year’s TIFF.

“I feel almost a sense of fate that we’re able to present Yoji Yamada’s Tora-san, Wish You Were Here as the TIFF Opening Film, since I’ve been watching all the Tora-san films as they were released and I have a warm spot in my heart for the series. Also, being a former Shochiku employee myself, I’ve had the great pleasure of working with Yamada-san and the opportunity of visiting the set as they were shooting the films."

Kohei Ando, TIFF’s Japan Now programmer since the section was created six years ago, was also excited about Yamada’s inclusion. “The Japan Now section’s mission is to showcase recent Japanese films that reflect the present state of this country, its aesthetics, its culture and philosophy,” he explained. “In that sense, showcasing a film like Tora-san, Wish You Were Here as the Opening Film of the festival is very much in line with this purpose, as it’s one of the most prominent and noteworthy titles to open this year. I have a twinge of regret about not being able to show this wonderful film in the Japan Now section, but it gives me great satisfaction that we’re able to present it as the Opening Film.”

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Yamada and his Tora-san family.
©2019 Shochiku., Ltd.

Among the 14 films in the Japan Now section will be a selection of works by another legendary filmmaker, Nobuhiko Obayashi, of House fame. “As many of you probably know,” said Ando, “Mr. Obayashi was diagnosed with cancer three years ago. Nevertheless, two years ago he shot a wonderful film called Hanagatami. And despite his ongoing battle with the disease, he has now shot yet another, Labyrinth of Cinema, and it’s another marvelous piece of work.”

Aging, disease, death: the Q&A session couldn’t avoid these topics. But the multigenerational audience didn’t seem to mind. After all, these are essential components of Tora-san, Wish You Were Here.

The series resumes on the sixth anniversary of the death of Mitsuo Suwa’s wife, and the family has gathered at a memorial service behind Kurumaya, the traditional confectionery store on the approach to Taishakuten Temple in Shibamata, which has now been reborn as a modern café. Tora’s sister Sakura and her husband Hiroshi still live in the quarters at the back, which have remain unchanged. 

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Mitsuo, Izumi, Sakura and Hiroshi recall the old days.
©2019 Shochiku., Ltd.

After the service, conversation inevitably turns to lively reminiscences of the past (beautifully illustrated with “flashbacks” from earlier films in the series), especially the many times that Torajiro, the black sheep of the Kuruma family, brought his latest unrequited love interest back with him, sending the house into an uproar.

Tora’s now-40ish nephew, Mitsuo (Hidetaka Yoshioka), has recently left his office job to become a novelist. At a book signing, he runs into his first love, Izumi (Kumiko Goto), who moved away to Europe as a teen and now works there as a UNHCR diplomat. Both have since married and had children, but as they talk, the years begin to melt away. Mitsuo takes Izumi to a small jazz bar, owned by the still-gorgeous Lily (Ruriko Asaoka), Tora’s greatest love.

The two women last saw each other over 20 years ago on Amami Oshima, and Lily finally reveals why she and Tora never married. Later, they go to visit Sakura and Hiroshi, and it gets late, so Izumi sleeps on the second floor, with plans for Mitsuo to drive her to a reunion with her father the next day. And so a new chapter begins…

tora-san-5 2019 Shochiku Ltd
Lily tells Izumi what happened.
©2019 Shochiku., Ltd.

“I have made dozens and dozens of films over the course of more than half a century,” Yamada told the audience. “But making this newest film in the Tora-san series, I wasn't sure just what I was embarking on. Throughout production, I was a bit anxious about it, but I was [looking forward to seeing] what it would ultimately become. When I viewed the completed film, I realized that it really took 50 years to make. Without my longevity, I wouldn’t have been able to make it.” 

A young foreign journalist praised the film and queried, “I think it’s quite a feat to direct a film this good at the age of 88. If you were to direct another, what would you want it to be?”

“When I think about my age, it fills me with anxiety,” the director admitted. “I sometimes feel I shouldn’t have this luxury of making films. But Clint Eastwood is still making films (at 89), so I suppose I should follow suit. Portuguese director Manoel de Oliveira and Japanese director Kaneto Shindo both shot films until the age of 100, so I think there’s still hope for me.” 

Interjected Ando, to audience delight, “Yamada-san is just like Tora-san: he simply doesn’t age.” 

FCCJ TIFFYamada KM-7   FCCJ TIFFYamada KM-11   FCCJ TIFFYamada KM-13
Yamada charmed the audience with his candor and enviable energy.  ©Koichi Mori

Another foreign journalist, professing herself a fan of the series, asked what criteria Yamada had used to select the actresses who played Tora-san’s love interests, the so-called “Madonnas,” and why he hadn’t selected Momoe Yamaguchi, one of her favorite actresses.

Yamada responded, “First, I thought about what kind of actress he would fall in love with. Tora-san could really fall in love with just about any type of woman. Selecting the Madonnas for each film was an enjoyable process. Of course I also considered approaching Ms. Yamaguchi, but she’d already retired from acting, so that unfortunately couldn’t happen.”

In one of the film’s many touching flashbacks, a teenaged Mitsuo asks his uncle what life is for, and Tora answers, “There are times in life when a man is glad to be alive. That’s what we live for.” When an audience member asked Yamada whether he’d had times like that, the director grew serious. “To be honest, we live in a world where not everything is happy. There are situations both at home and abroad that we cannot be happy about. I hope there comes a time when I’m thankful to have lived this long so I could see it.”

The French journalist who had specially flown in for the event asked the director why trains and train stations played such an important role in all the Tora-san films, and why, in this one, a pivotal scene is set in an airport instead. Said Yamada, “Tora-san is a traveling salesman, always on the move. He can’t drive, so he has to take the train. But he doesn’t take the shinkansen, it’s too fast for him. He enjoys going from town to town on these slower trains. He enjoys drinking his sake and making friends on these train rides. And he’s never disappointed that he doesn’t arrive earlier. The way he's sees it is, ‘Why would I pay extra to arrive at my next destination any earlier?’ His sense of time is different from Mitsuo and Izumi’s, and that’s why you see them at the airport.

FCCJ TIFFYamada FCCJ-15
©︎FCCJ

“But there is one other time in the series where you do see an airport: that’s when Tora-san is going to Okinawa. He’s afraid of flying, so his family members have a hard time convincing him to get on the plane. Ultimately, he boards the plane only because an attractive flight attendant comes along and tells him it's safe.”

For those longing to revisit these and other earlier episodes, Shochiku is releasing 4K digital restorations of all 49 previous films on Blu-ray, culminating in the nationwide release of Tora-san, Wish You Were Here on December 27.

If you're lucky, you'll catch the film earlier at TIFF, which will be screening 170 films from past and present, and holding a variety of related events, from October 28 – November 5 in Roppongi, Hibiya and elsewhere in Tokyo.

Poster2019 Shochiku. Ltd.  Teaser Poster for Welcomback Tora-san TIFF Opening Film
©2019 Shochiku., Ltd. 

Selected Media Exposure

Selected TV Exposure

・ めざましテレビ 2019年10月4日(金)05:25~08:00 フジテレビ 

Selected Printed Media Exposure

Nikkan Sports
・Sports Hochi
・Daily Sports
・Chunichi Sports
 

RADIANCE (Hikari)


RADIANCE Special Screening and TIFF Panel


October 3, 2017

Guests: Director Naomi Kawase, TIFF Festival Director Takeo Hisamatsu
and Japan Now advisor Kohei Ando
 


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Ando, Kawase and Hisamatsu react to a pointed question during the Japan Now session.    ©Mance Thompson

Making her first appearance at FCCJ in 10 years (but not for our lack of trying), Cannes Film Festival favorite Naomi Kawase laughed with delight when a journalist asked her, “What’s your impression of the last 29 installments of the Tokyo International Film Festival? And please, do be frank.”

Kawase was at FCCJ to talk about her participation in this year’s festival, where she will deliver a Master Class and field questions following a screening of her Palm d’Or nominee, Radiance. Everyone knew TIFF wasn’t her usual stomping grounds. After the laughter died down, the room held its breath.

“Something unattainable,” she began, then paused. “Since I was born and raised in Nara, I always had the impression that Tokyo was so filled with bright lights and so unattainable to me. It seemed so distant and so inaccessible. TIFF is one of the major international film festivals, and it seemed out of reach. But being able to participate in Japan Now this year, and hearing about all the other films that are being shown, I’m starting to feel it’s more accessible.”

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Kawase is the only Japanese filmmaker selected for Cannes seven times. This will be her first film in TIFF.      ©FCCJ

TIFF’s Japan Now Programming Advisor Kohei Ando was sitting next to Kawase, and hastened to follow up. “TIFF has always tried to include the brilliant films of master directors like Hirokazu Kore-eda and Ms. Kawase in the past,” he explained, “but because of the timing of the festival, late in the year, they always appeared at Cannes and other earlier festivals. This is why we created Japan Now: to showcase their work each year, without [worrying about] a world premiere.”

Ando and Kawase were joined on the dais by TIFF Festival Director Takeo Hisamatsu, taking over the reigns of the venerable festival from Yasushi Shiina for TIFF's 30th anniversary edition. The Film Committee has been cohosting events with TIFF for nearly a decade, and this year’s panel began with Hisamatsu, who provided an overview of festival highlights. Hisamatsu is a veteran of four decades in the industry, a producer of many award-winning titles, and a former top executive at Shochiku and Warner Bros. Pictures Japan. He has been busy expanding the diversity of programming, as well as lining up some tasty treats to celebrate the past, present and future of TIFF. He quickly mentioned several: the Midnight Film Festival (10 filmmakers addressing 6 different themes on 6 screens, running all night), Cinema Arena 30 (outdoor screenings of 28 vintage films, with bountiful food carts and blankets), the Godzilla Cinema Concerts (the original 1954 film accompanied by live orchestra), and the annual Special Night Event at Kabukiza (Ebizo Ichikawa preforming live plus the digitally remastered classic, The Gate of Hell).

Hisamatsu then elaborated, “Especially worth noting is the Japan Now section, which we consider to be especially important because it introduces the world to contemporary Japanese cinema. This is the third edition of the section, and all the films in the lineup, including Ms. Kawase’s Radiance, are sure to be entering the [year-end] awards race. In the past two years, Japan Now has featured a special Director in Focus. This year, we are instead highlighting four actresses, the Muses of Japanese Cinema, chosen because they have so inspired directors: Sakura Ando, Yu Aoi, Hikari Mitsushima and Aoi Miyazaki. I hope you will enjoy the outstanding films at the 30th TIFF.”

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Hisamatsu is helming his first TIFF (©FCCJ).  Ando returns for his third outstanding Japan Now program.  ©Mance Thompson

Japan Now’s Kohei Ando followed up with a description of the section’s bountiful offerings, ranging from Hirokazu Kore-eda’s acclaimed The Third Murder to a new masterwork from veteran arthouse maestro Nobuhiko Obayashi, Hanagatami. The section will showcase not only films starring the four muses, but also by four female directors. He enthused, “We will be showing two films for each of the four actresses, all of which have marked important turning points in their careers, and we’ll be holding special talk events with the actresses and directors after the screenings.”

 RadianceMance Thompson-059   RadianceKoichi Mori-072
©Mance Thompson (left), ©Koichi Mori (right)

Ando proceeded to unveil an impressive roster of further guests: Along with Kawase, Kore-eda and Obayashi, directors Shunji Iwai (Hana and Alice), Momoko Ando (0.5mm), Lee Sang-il (Rage), Yang Yonghi (Our Homeland), Kei Ishikawa (Traces of Sin), Shinji Aoyama (Eureka), Masaaki Yuasa (The Night Is Short, Walk on Girl), Daihachi Yoshida (A Beautiful Star) and Michio Koshikawa (Life and Death on the Shore) will appear, as will Hanagatami star Takako Tokiwa.

Asked to divulge details about her Master Class, Kawase said, “First of all, I would like to congratulate [TIFF] on its 30th anniversary, because that’s a major accomplishment. I’m organizing the Nara International Film Festival in my hometown, which will turn five next year. So I really recognize what an immense feat it is to keep a film festival running. I think it’s a lot like life and like filmmaking in many respects, because we have to overcome so many hurdles to survive. Festivals are such hard work, so once again, congratulations to TIFF.

“I do not separate my life from my filmmaking,” she continued. “Filmmaking is my life. So in my TIFF Master Class, I would like to touch on a few examples of what emerging filmmakers might do to fuse their lives with their filmmaking. That will probably be my theme.”

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The panelists share another moment of mirth.  ©Mance Thompson

Kawase fondly recalled her earliest festival experiences and concluded, “Festivals are wonderful, because they are platforms for people from many nationalities who bring their films, come together, communicate, and take that back to their homelands. Then they come together again at a different festival. They help us overcome cultural differences and they motivate me as a filmmaker.”

The evening continued with a special screening of Kawase’s Radiance, her fifth film in the Cannes official competition and winner of the Ecumenical Jury Prize, before the writer-director returned for a vastly satisfying Q&A session — with the types of questions one might expect from a European arthouse audience. (Bravo, FCCJ Film Night regulars!)

Radiance is a luminous meditation on loss and salvation, and on the power of art to transform our lives. “Nothing is more beautiful than what disappears before our eyes,” says one of Kawase’s characters, and the line serves both as a metaphor for the film’s story and for cinema itself.

Hikari PhotoMain
©2017 “RADIANCE” FILM PARTNERS/KINOSHITA、COMME DES CINEMAS、KUMIE

Misako Ozaki (Ayame Misaki) writes audio commentary for visually impaired filmgoers, and as Radiance opens, her words are the subject of scrutiny from a focus group following a test screening session. The participants offer specific suggestions for improving her script, which is too wordy by far. Only one of them is downright rude about it. “It’s intrusive,” he barks, suggesting she’s robbing them of their own imaginations, and questions her competence. He is Masaya Nakamori (Masatoshi Nagase) a famed photographer who has slowly been losing his sight. Fate will continue to bring the two together, and despite his abrasiveness, Misako will soon find that Nakamori is a kindred spirit.

Both are lost souls — she, since the disappearance of her father and the progression of her mother’s dementia; he, as he loses his calling and his ex-wife prepares to remarry. Nakamori’s photographs, taken on an ancient Rolleiflex, entrance Misako, particularly one of the sun setting behind the mountains. It will eventually solve a mystery from her past. As both emerge, tentatively, from the limbos in which they’ve been living, they learn to see the world through each other’s eyes. In Kawase’s images, it is radiant.

Kawase was asked first how she came up with such an unusual setting for her film. “We had to make an audio guide for An/Sweet Bean, my last film,” she responded, and that’s how I first discovered it. When they showed me the dialog list for the guide, I was very moved by the words. Cinema is essentially visual, but for someone who is visually impaired, words are needed. The way they used the words, the way they described the scenes, were so beautiful. I had the idea that, if I had a protagonist who was doing this kind of work, I could express my love for cinema.”

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Kawase returned to field questions after the screening of her latest Cannes Palm d'Or nominee.  ©Koichi Mori (left), ©Mance Thompson (right)

Pointing out that Misako asks a film director in Radiance whether one of his characters is simply a projection of himself, one audience member asked, “Is this film itself a projection of yourself?” Answered Kawase, “After An/Sweet Bean was a commercial success, I was having a hard time figuring out what I really wanted to depict in my next film. I finally felt that I wanted to depict film itself as the core theme, because filmmaking is so intertwined with the way I live. In depicting my love for cinema, I’ve been able to project myself into the film.”

Asked about the “themes of disability and decrepitude” in her last two films, and how she sees the relation of art to physical breakdown, Kawase said, “I think creators, including filmmakers, are always looking for what’s missing within ourselves. By doing this, we come to realizations that help us grow. For me, being able to make films has enriched my life immensely. Films generally tend to shine a light on things that are to be celebrated or glorified, but I want to shine a light on people who aren’t usually depicted, and on that which is still in the dark or unknowable.”

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Ando, Kawase and Hisamatsu with the TIFF poster, featuring images shot by Mika Ninagawa.  ©Mance Thompson

Another audience member asked about the recurring image of a woman lost in the forest in several of her films, including Radiance, and the role of nature. “I think of nature and the natural landscape as a protagonist in my films. I believe there is nature, and within it, there is mankind. That’s how I see the world, and that’s the approach I take to my filmmaking. I think the natural landscape is sometimes more eloquent than words.”

Discussing her two leads, Kawase said, “I’d worked with Mr. Nagase on An/Sweet Bean, and when we took the film to Cannes, we talked about doing another film together. He’s a photographer in his own right, and I knew he could bring a realism to the role of a photographer losing his sight. I had him live in the apartment in Nara for a while before we shot there, and he wore goggles that impaired his sight. As for Ms. Misaki, I found her to be a very strong-willed, determined woman, especially on hearing about her suffering related to the [1995 Kobe] Earthquake.”

But after an audience member commented that she’d found Misaki to be “perhaps too young to portray the emotional depth” required of the character, Kawase admitted that had been her intention in casting her. “I felt she needed a little more depth, she wasn’t quite there yet,” said the director. “What you’re seeing in the scene with the audio guide [focus group] is based on a guide script that I had Ms. Misaki actually write herself, and her tears are real tears. I wanted to depict a girl who has a limited perspective and is thinking only about herself at first.”

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©Mance Thompson

A professional photographer wondered how Nagase’s character could have let go of his Leica camera in one pivotal scene, since they’re so expensive, and it's clear that the character cannot possibly live without it. “The idea behind that,” explained Kawase, “is that if you rid yourself of that which is most valuable to you, you make room for something even more valuable to come in.”

Finally, she was asked about her new film, currently in production in Nara and tentatively titled Vision. It stars Nagase again, as well as the celebrated French actress Juliette Binoche, making her first film in Japan. “It’s so exciting,” said Kawase, in English. “Working with Juliette is wonderful. She’s an amazing actress and has exceeded my expectations. One of the most wonderful things about her is her ability to improvise. She gives so much more than the script provides. She spends days and days trying to inhabit the character. She’s playing a woman named Jean, and she [created a backstory] about what her parents were like, where she studied, why she came to Japan. I always ask my actors to inhabit the location where their character lives prior to shooting, but I didn’t have to ask Juliette. She’d already done her homework. I felt like, finally I’ve met a [complete] actress.”

After eventKoichi Mori
Kawase with Ando and renowned film critic Reiko Kitagawa.  ©Koichi Mori

And then she raised goosebumps around the room, sharing a bittersweet memory from this year’s Cannes: “At the closing ceremony, Juliette was the presenter of the Palm d’Or. As Mr. [Pedro] Almodovar [who was head of the jury] was about to speak, she stopped him and said, ‘Cinema is light.’ She said ‘light’ in every language that she knew, including 'lumiere,' so I erroneously thought, ‘Maybe I’m going to win the Palm for my film!’ To be able to talk with her in Nara, just three months later, about how cinema is light and love, is quite miraculous to me.”

Hikari PosterVisual
  ©2017 “RADIANCE” FILM PARTNERS/KINOSHITA、COMME DES CINEMAS、KUMIE

Selected Press Coverage

Selected TV Exposure

  • AFP BB News 河瀬直美監督、東京国際映画祭は「手の届かない存在」都内会見

 

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