Happy Halloween!

Reflecting this spooky day, Aruba and Chris tackle the most famous examples of J-Horror to ever grace the cinema, Nakata Hideo's Ringu (1998). We chat about the film's legacy, its theme of technophobia, the questionable gender politics, its updating of Japanese folk tradition, and whether or not it remains affective today.

This episode is dedicated to the memory of Takeuchi Yūko (1980-2020).

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It's classic week, and Aruba and Chris take on the Master Ozu Yasujiro with one of his less exalted features, Brothers and Sisters of the Toda Family (1941). We discuss its reputation as a National Policy film, its strange place in Ozu's filmography, how it attributed to the development of his signature style, its critical portrayal of class in a family-centric society, and whether or not it is a comedy. 

If you liked what you heard, make sure to share it around on social media and rate us on your podcatcher of choice.

Twitter: https://twitter.com/EigaNight

Website: https://eiganightpodcast.wordpress.com/

Facebook: https://www.facebook.com/pages/category/Radio-Station/Eiga-Night-Podcast-1919095905057689/

The Toronto International Film Festival had its first ever online festival, and Aruba and Chris checked out what contemporary Japanese cinema was being offered this year.

We took a look at the latest offerings from Kawase Naomi with True Mothers, and Miwa Nishikawa with Under the Open Sky (kind of).

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Venturing back into Sono's films after a tiny hiatus, Chris rambles about the eclectic director's New York based crime drama, Hazard.

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Also, make sure follow the Sono themed twitter account (@sion_film) mentioned in the episode

JAPAN CUTS is a New York based film festival hosted by the Japan Society dedicated to celebrating new Japanese film. Their 14th edition is currently streaming  online from July 17 -30th. Deputy director of film for the Japan Society and programmer/organizer for JAPAN CUTS Kazu Watanabe sat down with Chris to talk about this year's festival and how it has adapted to a new online format due to COVID-19.

Tickets are available at https://japancuts.japansociety.org/

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For the second installment of the series dedicated to exploring Sono Sion's eclectic filmography, Chris rambles a bit about the raunchy fun of The Virgin Psychics (映画 みんな!エスパーだよ!, 2015). 

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From the utterly mind numbing existence of quarantine comes a new Eiga Night side series!

A personal exploration of one of Japan's most audacious filmmakers work, Solo on Sono is Chris exploring the films of maverick iconoclast (and his personal favourite director) Sono Sion.

For the inaugural episode, Chris watches Sono's mature meditation on obsession and youthful abandon, Balloon Club, Afterwards. 

Alright varmints, from our self-imposed quarantines Aruba and Chris breakthrough the monotony to say "Howdy" and "wtf" to this weeks episode, Miike Takashi's Sukiyaki Western Django (2007).

We talk the film's legacy in a long continuation of cross-cultural exchange of the Western film between America and Japan, the oddball humour of its phonetic English script and self-aware humour, why Quentin Tarantino is in it, and what is the connection between this film and Tyler Perry's Madea films.

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Checking in from our quarantines, Aruba and Chris correct the mistake made by the Academy when they snubbed the legendary Joe Shishido (1933 - 2020) from their In Memoriam montage with a lively discussion of his best work as an actor, Suzuki Seijun's Branded to Kill (1967). We discuss his intense qualities as an actor, Suzuki's esoteric style and aestheticized use of violence, the film's more peculiar plot points, and how it's third act becomes a little too real in a COVID-19 world. This episode is dedicated to the memory of Joe Shishido.

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On this week's episode, we lace up our gloves and punch our lives back into shape with Take Masaharu's 100 Yen Love. We talk the inimitable acting talent of Ando Sakura, the depressing nature of Japan's convenience store culture, the difficulty in "uglying" up your main actress, and the strange romance at the heart of this boxing dramedy. Plus, whether or not we would let Ando Sakura punch us in the face (the answer is yes).

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