Half Jewish, half Maori director Taika Waititi created a sensation in 2007 with “Eagle vs. Shark,” a romantic comedy with a decidedly New Zealand twist.
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The original “Kung Fu Panda,” an animated film from 2008, gave us the enchanting, if unlikely, premise of an overfed giant panda (voiced by Jack Black) who struggles to master kung fu.
“The Hangover,” from 2009, brought new lows to the treasured American tradition of the raunchy, slimy, morally corrupt R-rated comedy.
“13 Assassins,” the new historical samurai epic from notable Japanese director Takashi Miike, opens with a samurai warrior committing hara-kiri, or ritual suicide.
“Breath,” the latest dramatic film from eccentric South Korean director Ki-duk Kim, begins with a prison inmate scratching on a wall with some kind of pen-shaped object.
“Legend of the Fist,” a sweeping historical epic from Hong Kong director Andrew Lau, begins with the dismal, gray battlefields of World War I.
“I Saw the Devil,” a new horror thriller from South Korean director Ji-woon Kim, opens with a flurry of snow falling on a car windshield.
“Clash (Bay Rong),” the new spy thriller from Vietnamese director Le Thanh Son, opens with a flurry of action. In between fights and stunts
Chang-dong Lee’s new dramatic film “Poetry” begins with children playing in weeds. Down the river, near the children’s play site, a large object drifts.
We Don’t Care About Music Anyway” is a documentary studying experimental musicians in and around Tokyo. Its structure is experimental in itself.