@pratt360

JP underground film researcher based in Kyoto

 Japan
boxd.it/al7j
Joined June 2009
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Easily the greatest thing to come out of this trip, though, was my opportunity to see the lovely Chigumi-san again and meet for the first time Kyoko-san, his wife and the backbone for many (perhaps all) of Obayashi Nobuhiko's films.
pratt360 (a re 楠 (kusu))@pratt36028 Jan 2025
I just got back from Onomichi, Obayashi Nobuhiko's hometown. Here are some photos I took from some of the locations in his films.
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Wait til they're 18, parents, it's the only ethical thing to do. Cinema should only be enjoyed like the right to vote and the ability to drink.
Hank@BruhwhatnahhOct 25
Uhh yeah I like the movie but like no, this is just a really bad message to be sending out. There was a child that was probably about 5 in the theater and when I walked out of the movie she was standing there wrapped in a blanket while her mother was trying to comfort her.
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This reminds me of my favorite post-viewing experience.When Princess Kaguya was released, my local theater had a free screening for kids. When it ended the children were all crying and one little girl loudly sobbed to her parent, "I thought that was supposed to be a happy movie!"
Hank@BruhwhatnahhOct 25
Uhh yeah I like the movie but like no, this is just a really bad message to be sending out. There was a child that was probably about 5 in the theater and when I walked out of the movie she was standing there wrapped in a blanket while her mother was trying to comfort her.
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I don't know if this is as modern a phenomenon as implied here. The platforms in which this marketing takes place simply change, but PR campaigns from TV, radio, newspaper and magazine ads have had a disproportionate amount of sway for at least half a century.
Fred Barrett@fred_berettaOct 23
Regardless of how you feel about this piece, I don't think anyone can argue that film discourse on here is completely beholden to marketing and release schedules. The only times smaller films get talked about is when half of Film Twitter is mutuals with the director.
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It obviously has changed, and I think people on Twitter are rightly sensitive to these modern iterations, but production, distro, exhibition are all industrial valences glued together by similar socio-economic forces.
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There simply is nothing like it anywhere else in the world. The radical industrial shift of a major company to (almost) exclusively produce adult film embodies the largest concentration of sex-themed work (in the most generous respect) that any national industry has witnessed.
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In abt 17 yrs, Nikkatsu started the careers of auteurs, extended definitions of stardom, and pushed both legal and artistic boundaries as it deftly navigated contemporary industrial hardship. It should be a priority to view as much as possible to see the immensity of its project
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It's certainly not a clean history (which I hope the program reveals), but it's one that offers endless possibilities for those looking to glimpse a truly unique and challenging body of work.
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Pissed I'm not over there right now
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Again.... pissed 😤
Japan Society Film@js_film_nycOct 22
Adhering to a strict set of conventions—a sex scene every 15 or so min, brisk 70-min runtimes, medium-sized budgets and tight shooting schedules—the Roman Porno (1971–1988) became one of the few avenues for aspiring filmmakers to make their debut and hone their craft.
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pratt360 (a re 楠 (kusu)) retweeted
Disc-Connected
@disc_connectedOct 22
***ANNOUNCEMENT*** Coming on January 11th on #4K/Blu-ray dual format in the UK from @LostInCult: #RubbersLover (1996)! Scientists use a brain-altering drug to conduct experiments, after one such project goes astray, they need to find another test subject in this Japanese splatter-punk film. New director-approved 4k restoration created from the original 16mm camera and sound negatives Disc 1 (UHD): Rubber’s Lover 4K (2160p) feature UHD Blu-ray™ presentation New audio commentary by Japanese Underground expert Guy Disc 2 (Bluray): Rubber’s Lover 2K (1080p) feature New audio commentary by Japanese Underground expert Guy Conversation between director Shozin Fukui and actor Yohta Kawase New interview with actor Yohta Kawase New interview with editor Kunihiko Ukai Limited Edition 0-Ring with new artwork Full-height Scanavo packaging 8 page booklet #BluRay #PhysicalMedia #BluRays #BoutiqueBluRay #CultMovies #DiscConnected #LostInCult #ShozinFukui
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The JP game piracy topic is interesting in a separate historical way. Ethics of theft in art and industry have shifted drastically over the decades, and many on the anti-piracy side seem to be attributing static ethical frameworks that have not always been in place.
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The curious part of this is the fluctuation of global standards and the perceived national weight behind each chosen stance. Currently in Japan (by some), China is largely seen as stealing JP tech, with little self-awareness of the country's own history of knowledge/tech exchange
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This isn't exactly to promote piracy in any particular way, as various industries rely on proper and generous compensation for creative labor, but the tendencies to attribute to culture and nation the attitudes of only a few (from both corners of discourse) is fascinating.
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I don't know why I'm just realizing this now, but I now understand basically half of Nathan for You is eventually (and currently) going to turn into these engagement farm recaps on Twitter that emerge every once in a while
susie
@susieetweetsOct 20
nathan fielder creating a play called “smokers allowed” to get around the smoking ban what’s the loophole? nathan’s responding “theater law” makes me laugh every single time 😭

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Attitudes like this are exactly why the film 1) is a massive hit, and 2) represents an artistic approach that needs repeating
pretend this is a red star: ⭐️@bog_obeliskOct 20
Nathan Fielder made the one millionth movie about the extremely overplayed postmodernist idea that “truth like isn’t real bro” and everyone’s acting like that’s somehow good and not a decadent sickness infecting our critical faculties
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As discourse around Digger continues, I'm increasingly certain it's the best film of the year.
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This only matters with regards to contemporary systems and interpretations of canon, just like the IMDb, afi, tspdt, and similar lists. None of these will ever be the "best" films, but it's interesting how they direct visibility and signal patterns of perception.
Cinema Now
@CinemaaNowOct 17
‘YOU CAN SEE EVERYTHING’ is currently the highest-rated feature film of all time on Letterboxd.
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Simply put, it doesn't matter that much that this is the highest rated film on a platform like Lb.
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I'll add, the conversations this is generating around the validity of documentary and non-fiction media are fascinating, and prove a necessary ontological problem for those who struggle with breaking out of the mainstream.
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