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Because his style was similar to that of Yasujiro Ozu, who was already active at Shochiku, he moved to PCL (currently Toho) in 1933, where he appeared in the talkie works "My Wife, Like a Rose" and "Tsuruhachi Tsurujiro." It got attention. There were times when he was unable to make as many films as he wanted due to wartime film regulations and post-war Toho disputes, but in 1951 he revived his career with Meshi. Since then, he has released masterpieces one after another, including "Okaasan," "Lightning," "The Couple," "Wife," "Anii Mouto," "Sounds of the Mountain," and "Bangiku." The pinnacle of his work, "Floating Clouds," is Kenji Mizoguchi's "Wife." Even director Ozu was impressed, calling it a masterpiece of Japanese cinema, on par with "The Sisters of Gion." He depicted ordinary people in everyday life with an everyday realism that was not influenced by lyricism, and he consistently sought out women as his subjects.

The Kingdom of Dreams and Madness

As I Was Moving Ahead, Occasionally I Saw Brief Glimpses of Beauty

Hitchcock/Truffaut

Never-Ending Man: Hayao Miyazaki

To Be Takei

Heart of a Dog

Mifune: The Last Samurai

They'll Love Me When I'm Dead

Deliver Us from Evil

In the Realms of the Unreal

The Class of ‘92

Finders Keepers

I Am Alfred Hitchcock

Japanscope, panorama de la nouvelle Nouvelle Vague

On the Trail of Ed Wood

Yakuza Eiga, une histoire du cinéma yakuza

David Lean: A Self Portrait

Elia Kazan: An Outsider

My Best Fiend

Cecil B. DeMille, l'inventeur du blockbuster

High Noon on the Waterfront

QT8: The First Eight

Werner Herzog: Radical Dreamer

Godard Cinema