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Topic: Kiyoshi Kurosawa

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	DVD Interviews at DVD Talk
		Kiyoshi Kurosawa: It's true that whenever I make a film, I'm interested in the thematic issues, but basically, as we know, if you're going to make a film that going to be commercially released, there a time limit, somewhere between 100 and 120 minutes that defines the form of expression called films.
		Kiyoshi Kurosawa: Well, I won't go into all the details, but there was a time where there was an aspect of a branch of Japanese filmmaking called the Nikkatsu romance porn genre, and I made one of them right about the time it collapsed, right at the end of the 1980s.
		Kiyoshi Kurosawa: I don't know if I feel influence from that particular experience now, but at the time I was certainly considered kind of a dangerous character within the studio system, kind of a persona-non-grata that couldn't be relied upon to deliver what they wanted.
	www.dvdtalk.com /interviews/004275.html (3155 words)

	Kiyoshi Kurosawa - Wikipedia, the free encyclopedia
		Of no relation to famed Japanese director, Akira Kurosawa, Kiyoshi Kurosawa was born in 1955 and got his start directing in the 1980s, working on low-budget V-Cinema (direct-to-video) productions such as formula yakuza pictures.
		Kurosawa followed this with another digital feature, Dopperugengâ, later the same year.
		Many of his films are concerned in some form with the way society shapes the individual, with individuals obsessed with some eccentric project, or how social mechanisms disintegrate when faced with the wholly irrational.
	en.wikipedia.org /wiki/Kiyoshi_Kurosawa (365 words)

	The Deadbolt - Film Review - Pulse
		Kurosawa's a little different than his genre counterparts, firmly believing in the slow burn style of horror, with atmosphere and theme winning out over cheap jump shots.
		This could have been Kurosawa's intention in the first place, but with his fantastic use of setting and subtle commentary on the technological world, I feel like there was something either incorrectly translated, underdeveloped in the script, or just plain missing - the pulse skips a beat or two, keeping it from horror perfection.
		Several times in the film Kurosawa and Hayashi frame something in the center of the screen, like a computer monitor, that we know to be suspicious of and then have a character walk into the foreground of the shot, blocking the item of fear.
	www.thedeadbolt.com /news/110705/pulsefilm.php (606 words)

	Kiyoshi Kurosawa
		Kiyoshi Kurosawa presents a visually compelling, multi-layered, and insightful film on radicalism, individuality, and balance in Charisma.
		Kiyoshi Kurosawa presents a hauntingly enigmatic, poetic, and understated portrait of rootlessness, apathy, and disconnection in Bright Future.
		Similarly, the recurring split-screen view of the passenger compartment of Mamoru's father Shin-ichiro's (Tatsuya Fuji) truck that is thematically repeated in his physically distanced, polite conversations with his estranged children illustrate their fractured familial relationships, underscoring the spatial distance - and emotional isolation - of the characters.
	www.filmref.com /directors/dirpages/kiyoshikurosawa.html (1242 words)

	Daily Gusto: Kiyoshi Kurosawa's Seance
		Kurosawa creates incredible tension in this part of the film as Koji and Junko go about their day, unaware of what is in the garage.
		This theme is a recurrent one for Kurosawa, one that appears in varying degrees several of his other movies, particularly Cure and Charisma.
		Kurosawa always pays great attention to sound in his films, and Koji job as an effects recorder makes us focus even more than usual on the soundtrack, with one sounds effect late in the movie causing one hell of a chill.
	www.dailygusto.com /blog/archives/movies/000537.php (705 words)

	Charisma Movie Review at Hollywood Video
		Kurosawa is implicitly intent in showing that the concept of Western individualism can only exist in conflict with the more Eastern concept of duty, a core belief in historical Japan.
		Kurosawa, like many Japanese genre filmmakers, is extremely prolific, having directed 17 films in nine years, both for TV and theatrical release.
		No, Kiyoshi Kurosawa is not Akira Kurosawa, but, in the realm of the Japanese New Wave movement, he is its best and most exciting filmmaker since, well, Akira Kurosawa.
	www.hollywoodvideo.com /movies/movie.aspx?MID=140604 (1095 words)

	Jigsaw Lounge - Pulse
		Kurosawa’s directorial flair is present in abundance — but is almost fatally hamstrung by his frustratingly slow, confusing and disappointingly derivative script.
		Kurosawa’s development of plot and character is stilted and over-enigmatic, and the late sections’ apocalyptic escalation of events seems as forced and desperate as the very similar occurrence at a similar stage in Charisma.
		But Kurosawa never manages to sustain such moments of genius or tie them together to support the weight of his thesis that modern society as a bleak zone of floating, discrete individuals, represented at one point in a computer simulation showing dozens of lonely little dots of light traversing a dark void.
	www.jigsawlounge.co.uk /film/pulse.html (662 words)

	45th Thessaloniki International Film Festival
		Kiyoshi Kurosawa, the new master of fantastic cinema gave a press conference on Monday, November 22nd.
		Kurosawa also mentioned that his films have an audience in France, China and now, Thessaloniki, something not true about his country where his films are screened in small cinemas.
		Kurosawa said that he tries to watch as many European films as he can and admitted that he is most influenced by Theo Angelopoulos.
	www.filmfestival.gr /2004/uk/45filmfest_archive_item.rhtml?id=431 (361 words)

	"Do I Exist?": The Unbearable Blankness of Being in Kiyoshi Kurosawa's Bright Future
		Kurosawa's conception of the relationship between human beings, of their yearning to connect and their inability to do so meaningfully, has something in common with that of Tsai Ming-liang.
		Kurosawa's characters are not simply lonely, however – his films (especially Cure [1997], Barren Illusion [1999] and Pulse) are populated by lost, aimless, alienated young men and women, usually hostile or at least indifferent to the adult world.
		Kurosawa has always been plagued by a tendency to spell things out excessively, but in his best films either he has resisted this temptation, or his explanations have been defeated by the imaginative force and metaphorical slipperiness of his images and conceits.
	www.sensesofcinema.com /contents/04/32/bright_future.html (2287 words)

	Exclusive: Kiyoshi Kurosawa on Pulse - ComingSoon.net (Site not responding. Last check: 2007-09-17)
		Kurosawa: I would certainly say that five years ago, because the internet was just really getting popular, I think there was that sense that in one home, there would be four separate rooms with four people all doing something of their own on the internet, and so there was kind of an obsession with that.
		Kurosawa: I think one of the reasons why you have all these electronic gadgets being ghost conduits is that video and internet technology is really a portrait of contemporary daily life.
		Kurosawa: Well, I would say that the man who knows nothing about computers really is a reflection of me. I brought the computer into my home and was using the Internet, but I really was not very sure at all how to use it or control it.
	comingsoon.net /news/topnews.php?id=11770 (1452 words)

	Reel.com: Kiyoshi Kurosawa
		For years the only Kurosawa familiar to international movie audiences was Akira, but that's about to change.
		Writer-director Kiyoshi Kurosawa — no relation — toiled in relative obscurity, mainly in Japan's straight-to-video market, for years, but as he's embarked on more personal work, he's become a favorite at film festivals and his films are beginning to crop up at the local art house.
		Kiyoshi Kurosawa: First of all, when somebody is scared, there is the self and there is an incident, perhaps another person involved, and there's a defensive instinct that gives you the emotion that you're scared.
	www.reel.com /reel.asp?node=features/interviews/kurosawa (1486 words)

	GHOST WORLD: Some Films of Kiyoshi Kurosawa
		Kurosawa prefers to generate a bewildering latticework of possible interpretations, like an out-of-control tree sprouting roots in all directions, and he leaves it to us to dig them up.
		Although topical agendas aren’t Kurosawa’s thing, environmental metaphors are both an obvious angle and a useful key to penetrating the movie’s fog: simply put, Charisma presents the characters with a choice between the forest and the trees.
		Kurosawa doesn’t always earn the air of portentous mystery in which he drenches his films, and his deliberate frustration of the audience sometimes reaches a point of diminishing returns.
	www.brns.com /welles/pages/welles3.html (1662 words)

	[KFCC] Cure Review
		Directed by Kiyoshi Kurosawa who is well known for such films as Charisma, Séance and the immensely popular Kairo.
		Kurosawa's style of film making is both good and bad, while the movie is often a brilliant piece of work it is hard to appreciate and understand.
		Kiyoshi Kurosawa is a brilliant Japanese filmmaker perhaps even one of the best but the way he approaches a subject might put a lot of people off from his movies.
	www.kfccinema.com /reviews/horror/cure/cure.html (667 words)

	Project A [ KIYOSHI KUROSAWA ]
		Kurosawa once again shows himself a master in the use of locations and sound to create a truly unsettling atmosphere.
		Kurosawa's handling of sound is very deliberate: "I don't like to use sound to accentuate the action or the story.
		Kiyoshi Kurosawa is not about to turn his back on horror, though.
	www.projecta.net /kurosawa.html (1505 words)

	PULP : : New Japanese Pop Culture Monthly : : 4.08 Film (Site not responding. Last check: 2007-09-17)
		Akira Kurosawa – maybe you've heard of him – made more than thirty films, some of them indisputable masterpieces, over the course of a career that began 1943 and ended very near the close of the last century.
		Kiyoshi Kurosawa – no relation – has made twenty films since 1983, sometimes two or three a year, some of them quite uninteresting indeed.
		And the similarly prolific nature of the two Kurosawas says more about the state of the industry than any mutuality of creative zeal: at least ten of Kiyoshi-san's films were made, frequently on two-week writing-and-shooting schedules, for Japan's voracious direct-to-video market.
	www.pulp-mag.com /archives/4.08/columns_film.shtml (1246 words)

	slant // magazine.com: Film Review - Pulse
		Kurosawa's movies have a genuinely unnerving effect on the viewer because they deal with the kind of loneliness that exists in an overcrowded world.
		Kurosawa takes those fears and broadens them: a group of young computer programmers are disturbed by the suicide of one of their colleagues.
		Kurosawa's able to interweave a complex give-and-take within a supernatural horror film without having the characters reduce themselves to conceptual ideas—perhaps because the subject they're talking about is life, and what it means to live, which is connected to what it means to love.
	www.slantmagazine.com /film/film_review.asp?ID=1661 (1226 words)

	ToxicUniverse.com - Kiyoshi Kurosawa - 2004 - Cure Movies Review
		Kurosawa makes us wonder if it's not hypnotism that inspires these crimes, but something more insidious that lives inside us all—something that Mamiya, with his repeated questions of “who are you” is able to bring out.
		Kurosawa's slow, elliptical style is a deliberate decision designed to complement the tone of his master nemesis—the pace of the film, in other words, is no less hypnotic than Mamiya's haunting voice.
		Kiyoshi Kurosawa has crafted an unforgettable piece of work with this film—one that deserves to be seen by a wider audience.
	www.culturedose.net /review.php?rid=10005473 (814 words)

	reverse shot : online : reverse shot fesses up
		Most stories of Kurosawa fandom begin the same way: with a bootlegged copy of one his films from the mid to late Nineties.
		It’s been a long time coming, but Kiyoshi Kurosawa is finally getting the respect and representation from the U.S. industry that he’s always warranted, and upon the theatrical release of 2001’s Pulse, audiences will get to see one of the great works of horror, period.
		Kurosawa, who speaks virtually no English, relied almost entirely on Hoaglund’s translation of both question and answer, making it difficult to maintain any kind of conversational pattern.
	www.reverseshot.com /autumn05/kurosawa/kurosawa.html (2011 words)

	Deep Discount DVD (Site not responding. Last check: 2007-09-17)
		A stunningly original take on the traditional serial killer film, Kiyoshi Kurosawa's CURE follows the determined and tortured trail of detective Takabe (Koji Yakusho) as he races against time and logic to solve a baffling string of gruesome, unexplained murders.
		As the corpses accumulate, the only connection between the crimes is the surgically precise x-shaped wound inflicted at the throat and the mystifying fact that each killing is committed by a different party, each of whom confess immediately, unable to explain their actions.
		Director Kiyoshi Kurosawa and cinematographer Noriaki Kikumura conjure a dizzying visual and psychological maze with CURE, transcending genre conventions to craft a thriller of uncommon poetry and suspense.
	www.deepdiscountdvd.com /dvd.cfm?itemID=HVD001665 (215 words)

	Cure Movie Review at Hollywood Video
		For years, director Kiyoshi Kurosawa — no relation to Akira — toiled in relative obscurity in his native Japan, working on genre projects for that country's burgeoning direct-to-video market.
		Kurosawa is clearly interested in issues of identity and how society operates in relation to the individual — particularly when society demands the suppression of feelings and behavior in order for the community to function smoothly.
		A pervasive dread envelops the world of Kurosawa's characters, whose orderly lives are thrown into chaos by the presence of an enigmatic stranger.
	www.hollywoodvideo.com /movies/movie.aspx?MID=132893 (1311 words)

	Midnight Eye interview: Kiyoshi Kurosawa
		To say "the central motif of Kiyoshi Kurosawa's work is that there is no central motif" sounds too pretentious.
		In the documentary you say that the value of cinema lies in the fact that it affirms your individual position in society, by way of how your reaction to a film is different from the reactions of the people around you.
		Kiyoshi Kurosawa further consolidated his reputation as one of Japan's most intriguing and polarising filmmakers with the characteristically enigmatic Bright Future, which was selected for the official competition of the Cannes Film Festival.
	www.midnighteye.com /interviews/kiyoshi_kurosawa2.shtml (1826 words)

	Cinema Strikes Back - Covering the World of Film » Loft: Kiyoshi Kurosawa’s Latest
		Kurosawa’s career in horror reached its apogee with the brilliant, apocalyptic Kairo (aka Pulse), a masterpiece of mood, isolation and existentialist dread.
		Kurosawa also undercuts the main storyline by dropping plot threads, and including scenes and dialogue that clearly signpost that the film shouldn’t be taken seriously.
		Kiyoshi Kurosawa is one of my favorite directors and I am very much looking forward to “Loft”, even though I stand cautioned of its limitations.
	www.cinemastrikesback.com /index.php?p=1028 (1576 words)

	Japanese Movie Review \| Bright Future (2003) Kiyoshi Kurosawa, Tadanobu Asano
		Kurosawa's films have always had an appeal beyond the genre, mainly due to his measured, philosophical approach, and the way in which he uses his subject matter as a platform for existential musings on the human condition.
		Kurosawa, who also wrote the script, does tend to work with an almost documentary-like feel, which has served him well when dealing with films in which things actually happen.
		Whilst Kurosawa does imbue the film with a rich visual texture, and does include some quite wonderful shots of the jellyfish itself, the film's ambient atmosphere actually works only to lull the viewer into the same kind of trance that the characters seem to exist in.
	www.beyondhollywood.com /reviews/brightfuture.htm (839 words)

	Locarno International Film Festival
		At this year's Locarno he was recently dubbed King of the B's, a title he certainly deserves for his ability to constantly re-shape and revive the genre.
		Cure (1997) was Kiyoshi Kurosawa's masterpiece, a powerful horror film that came at a time when Japan was experiencing a resurgent interest in horror films along with most of Asia (Korea, Japan, Taiwan and Hong Kong).
		In thinking about Kurosawa, one wonders how does one find the time to film 5 films a year -- from commercial films to Eurospace and TV -- and to teach?" asked Marco Muller, the director of the Locarno Film Festival, during a press conference.
	www.filmfestivals.com /locarno_2000/interview_kurosawa.htm (948 words)

	Eye - TIFF 99: The harsh lessons of Kiyoshi Kurosawa - 09.02.99
		And to Japanese filmmaker Kiyoshi Kurosawa, that pitiless eye can potentially be turned in any direction: on a neighbour, a friend, a tree in the forest, your husband, your wife, you.
		A tough yakuza whose eight-year-old daughter has been kidnapped, raped and murdered, bent on correcting this injustice by any means necessary, teams up with a mysterious math teacher who seems to be hiding terrible secret of his own.
		And as with the rest of Kurosawa's cinematic advice, the idea here seems to be that every object lesson must, by necessity, either kill...
	www.eye.net /eye/issue/issue_09.02.99/film/tiff-kurosawa.html (550 words)

	Kiyoshi Kurosawa's Pulse (Kairo) film review \| Movie Forum
		For the past four years, the coming of the TIFF has become synonymous with the arrival of a new thriller from Kiyoshi Kurosawa, who has brought a fresh new voice to the horror genre since the mid-80s, but whose distinctive films remain sadly unknown beyond his native Japan.
		His new thriller, "Pulse" ("Kairo"), could well prove to be Kurosawa's international breakthrough, as it is less esoteric than his previous works, and is superficially a teen horror yarn (ala Japan's popular "Ring" series), in which a deadly spectral menace is borne of the Internet.
		Kiyoshi Kurosawa once again avoids an overuse of FX (although some of the CGI phantoms and brief images of climactic doom are state-of-the-art) and utilizes the Expressionistic tools of cinematography, lighting, editing and sound (and the lack of it) to create a truly unnerving atmosphere of relentless dread.
	www.movieforum.com /features/festivals/tiff01/reviews/pulsekairo.shtml (697 words)

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