FYC: "Drive My Car" for Best Adapted Screenplay

by Cláudio Alves

Ryusuke Hamaguchi's Drive My Car, now in select theaters, is one of 2021's best films. Still, the Japanese Oscar submission is unlikely to feature much in the awards season beyond the International Film category. Or, at least, it seemed that would be the case. In a surprising turn of events, considering its fellow victors, Drive My Car won the New York Film Critics Circle award for Best Film. Whether this victory signals a shift in its fortunes is unclear. Though, if there was any justice in the world, Drive My Car would be one of the season's biggest contenders.

At the very least, it deserves strong consideration for its screenplay, an adaptation of Haruki Murakami's homonymous short story. From little more than 20 pages, Hamaguchi unspooled a majestic three-hour epic…

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Farewell, Emi Wada (1937-2021)

by Cláudio Alves

In 1986, at the 58th Academy Awards, Best Costume Design was the fourth category to be presented. The honor befell on Audrey Hepburn, who received a standing ovation upon her appearance. The shortlisted artists made up a prestigious lineup that included Oscar winners from years past, like Albert Wolsky and Milena Canonero. Considering Out of Africa's dominance over the night, one might have supposed its period fashions had the win in the bag. However, the Academy's long love affair with Japanese costuming bore fruit for a second time. Akira Kurosawa's last great epic, Ran, won its first and only Oscar, a merited recognition of Emi Wada's efforts. The designer had spent three years creating the thousands of pieces required by the bellicose narrative, using historically accurate techniques and custom textiles to produce a painterly masterpiece of color, motion, and striking silhouettes. 

As we remember Wada's much-deserved triumph, we do so in mourning. Her family announced that the 84-year-old costume designer died earlier this month, leaving behind a legendary career in Asian film, theater, and TV…

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Asian Film Awards: "Wife of a Spy" and "Voice of Silence" are winners

by Nathaniel R

The Asian Film Awards, which used to be held early in the year are now a fall event, organized jointly with the Hong Kong, Busan, and Tokyo Film Festivals. The prizes were divvied up across multiple countries so there's a little something for everyone though the big winner was Japan's Wife of a Spy (a winner at Venice in 2020) which took Best Film, Best Actress, and Best Costume Design and recently had a brief US theatrical release from Kino Lorber. South Korea's Voice of Silence also made a fine showing taking Best New Director and Best Actor for popular 35 year-old star Yoo Ah-In (Burning and #Alive). Most of the films honored are 2020 films so dont expect much of a direct correlation between what countries submit to the Oscars this year as most of these were eligible for submission last season. The full list of nominees and winners is after the jump... 

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Box Office: "Demon Slayer" is now an international hit

by Nathaniel R

People are slowly trickling back into movies theaters including Team Experience. There was an actual tight contest for #1 this weekend at the box office. How about that?! The anime hit Demon Slayer, which failed to score a Best Animated Feature nomination at the Oscars, is crying all the way to the bank. After breaking recrods in Japan it's now the first anime film to top the US charts since Pokemon back in 1999. That puts Mortal Kombat at #2 which had the disadvantage of also being free on HBO Max (for another two weeks)...

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FYC: "Ride Your Wave" for Best Animated Feature

by Cláudio Alves

There's nothing more wonderful about cinema, about art as a whole, than the ability to surprise. If I feel a film showed me sights I never thought possible, if it told me stories I could have never imagined, it instantly earns respect and a special place in my heart. Following that line of thinking, one must say that no other picture in this awards season surprised me quite as much as Masaaki Yuasa's Ride Your Wave. Mixing supernatural stylings and teenage melodrama, the Japanese director has managed to create one of the most painful portraits of loss and paralyzing grief in a long time. If you thought the sight of a girl talking to a water bottle would never make you tear up, think again…

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