respectively), he’s gone from strength to strength on the film festival circuit. And on September 13 this year he might have scored his biggest win yet. Taking home the Silver Lion for Best Director at Venice for new historical thriller, Kurosawa now adds the coveted award to a trophy cabinet already well-stocked with prizes from Cannes, Chicago and the Japanese Academy Film Awards. Few could argue with those credentials.
Modelling his early films on the works of John Cassavetes, Alfred Hitchcock and John Carpenter, Kurosawa would become known in the late 1990s for a palpable sense of foreboding in a series of genre-defying crime and horror features. Elevating himself from a fledgling career in pink films and straight-to-video schlock, his tense camerawork and methodical pacing in these films transformed simple mystery narratives in something much eerier and more thought-provoking.
While working less regularly in crime and horror genre since the late 2000s , Kurosawa has, in recent years, maximised his appeal in the eyes of critics by applying his meticulous craft to family dramas and philosophical romance works. But it’s the golden years that remain Kurosawa’s most memorable, and as the director returns home from the first major film festival to go ahead since Covid-19 with a heavy suitcase, AnOther looks back on some career highlights that forged his winning path.
Shot using slow, minimal long takes and bereft of any musical score other than vague and ominous rumblings,evokes a constant sense of breath-holding as it builds a hypnotic atmosphere. As it reaches its gloomy climax, using muted colours to evoke the image of faded photographs and foggy memories, this Lynchian fever dream begins to feel more and more like a nightmare.
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