by Red Cell
Tidepoint Pictures, the outstanding U.S. importer of Asian films, is teaming up with not-for-profit group, The Process, for a series of modern Asian cinema screenings. Tetsuki Ijichi, owner of Tidepoint, is opening up his vaults in an effort to expose Santa Fe, NM audiences to the dizzying variety of Asian film beyond the standard Samurai / Kung Fu fare. Ijichi has a long history with underground and cutting edge Asian film, having produced 1982s seminal Japanese punk movie, Carnival in the Night (Yami no Carnival).
Each film will be screened for one night only, on the second Sunday of each month, at Santa Fe’s premier art-house theater, The Screen, run by internationally known film curator, Brent Kliewer.
Films will include: Late Bloomer, Electric Button, Dear Pyongyang, Noriko’s Dinner Table, Taking Father Home, Carnival in the Night, The Emperor’s Naked Army Marches On, Extreme Private Eros: Love Song 1974, Peep “TV” Show, and Uzumaki, plus more. You can read about each one of these movies in detail at Tidepoint Pictures’ website.
You can listen to Tetsuki Ijichi and Red Cell of The Process talk about the Asia Now Film Series on the Radio Cafe right here: [ti_audio media=”4902″]
Their first feature will be Go Shibata’s award winning, cult hit, LATE BLOOMER.
“I see so many references to Go Shibata’s “Late Bloomer” as thriller, or horror film. That may be true, but it’s beside the point. Here is a film about the despair and rage building up within a man whose body has betrayed him. It fearlessly regards the dark side of severe disability, and would be offensive if we didn’t know it represents only this single character, who is going mad.” – Roger Ebert
Late Bloomer is an unusual exploration of a disabled man who can no longer cope with his difficult existence and slowly spirals into madness. The movie features a real life disabled person (Masakiyo Sumida) with cerebral palsy in the leading role of Sumida, a severely handicapped man who can only speak through an electronic device and depends upon others for his daily survival. Filmed in gritty black and white, it is often uncomfortable, but still retains a naturalistic feel as it follows Sumida though rock shows, getting drunk and the jealousies of love. When Sumida develops a crush on his new caregiver, Nobuku, he begins to suspect that she has fallen for his best friend. Sumida becomes increasingly dismayed, which leads him down a path of frustration and hatred, ending in bloody revenge.
Coming Next on June 13th:
Ying Liang’s Award winning, independent Chinese film, “Taking Father Home”