South Korea’s Hong Sang-soo carries a reputation as his country’s Woody Allen. Unlike Woody Allen, he’s never dated or married his stepdaughter, nor been caught up in child abuse allegations. But Hong makes films about older men, usually filmmakers like himself, chasing after younger women. In real life, he’s reportedly dating his leading lady from “Right Now, Wrong Then,” Kim Min-hee, who’s 34 to his 54.
Johnnie To’s “Three” opens with a surgery. Scheduled surgery, emergency surgery, the action doesn’t make it clear which — possibly some of both — with the circumstances left unstated.
Jakarta, Indonesia has, by Wikipedia’s reckoning, 9,607,787 people, making it one of the world’s largest cities.
At one point in Min Bahadur Bham’s “The Black Hen,” set in a small town in Nepal during that nation’s civil war, a small boy bends over, grasping his shins as a punishment from the schoolteacher, next to two boys enduring the same punishment.
At first, “Alone” looks like a case of voyeurism. Then it looks like a thriller, then a home invasion scenario, then supernatural.
Except for one quick, brutal, and negligible scene early on, “The Final Master” abides by that most sacred of martial arts film shibboleths: The challengers must attack the Master one at a time.
“Phantom of the Opera,” a novel by Gaston Leroux, was serialized in France between 1909 and 1910, and published in book form later in 1910. A tale of demented love between a beautiful young singer and a scarred musical genius hiding in the bowels of the Paris Opera House, it’s inspired several film versions, notably the 1925 silent classic starring Lon Chaney Sr., stage adaptations, and at least two musicals, including the world-famous Andrew Lloyd Webber version that spawned its own film.
In an era of auto-tune, lip-synching, pre-recorded vocals, pre-recorded imposter vocals, and huge video screens dwarfing human performs, Hatsune Miku has to be the next step in the evolution of live shows. She doesn’t actually exist.
He went from epitomizing the yakuza drama, to deconstructing the yakuza drama, to destroying his own career. When director Seijun Suzuki, 44 years old in 1967, turned in his film “Branded to Kill” to his employer— Nikkatsu Motion Picture Company promptly fired him. He didn’t direct again for 10 years.
Japanese American Fred Korematsu (1919–2005), a Nisei, made American legal history in 1942. With the help of the American Civil Liberties Union, he fought against his government-mandated internment in a camp.