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Kiyoshi Kurosawa readies thriller 'Cloud', Nikkatsu to launch sales at EFM | News

Kiyoshi Kurosawa readies thriller 'Cloud', Nikkatsu to launch sales at EFM | News
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Meet the Stars of 'Tokyo Revengers: Bloody Halloween - Decisive Battle'

Uncover the gripping personas and riveting performances shaping the epic sequel, Tokyo Revengers 2: Bloody Halloween - Decisive Battle. Explore the standout characters taking center stage in this enthralling cinematic journey.

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HKIFF Collection adds Tokyo competition title 'Who Were We?' (exclusive) | News

HKIFF Collection adds Tokyo competition title 'Who Were We?' (exclusive) | News
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Kiyoshi Kurosawa readies French thriller 'Serpent's Path' starring Ko Shibasaki, Damien Bonnard (exclusive) | News

Kiyoshi Kurosawa readies French thriller 'Serpent's Path' starring Ko Shibasaki, Damien Bonnard (exclusive) | News
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The 14 Best Japanese Film Directors of All Time

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In Review: Shin Ultraman

In Review: Shin Ultraman
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valentines day nerdy geeky romantic movies streaming

Our list of the best geeky love stories, and where you can watch them streaming online.

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Cleopatra Entertainment Acquires U.S. Rights For 'Shin Ultraman'

Cleopatra Entertainment Acquires U.S. Rights For 'Shin Ultraman'
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The Quietus | Film | Film Features | Comfort Of Strangers: Kiyoshi Kurosawa's Wandering 2010s

Patrick Preziosi
, December 11th, 2020 09:46
To mark the release of Kiyoshi Kurosawa's To The Ends of The Earth, Patrick Preziosi explores how the new film contextualises and capitalises on the director's last decade
Instead of parceling his already lauded work into more polite, tunnel-visioned explorations of a specific theme or mood, Kiyoshi Kurosawa spent much of the 2010s widening his films’ respective purviews. It’s a working method that’s consistently rewarded his longtime champions, and alienated those who think of him exclusively as a more artfully-minded than average horror director. Refusing to fully surrender to the tenets of genre filmmaking, Kurosawa has filtered his own personal preoccupations through the base demands of horror, melodrama, the thriller, and the welcomely messy confluence of all three. The critical peaks of the Japanese director’s career situate themselves somewhere within the late 1990s and early 2000s (where he was hailed as a master of J-horror, even as the touted films transcended such superficial categorization), and precisely in 2008, with

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