3.07 — SEVEN SAMURAI and Class

The next Akira Kurosawa film is probably his best-known — and certainly most-imitated — film: SEVEN SAMURAI (1954). We both really enjoyed this (one more predictably so than the other); after some general discussions of community feeling and individuality, we get more specific about the social hierarchies of the film, dive into Kurosawa’s cinematography once […]

3.05 — DRUNKEN ANGEL and Disease

The second director of Season 3 is Akira Kurosawa; the sequence of his films begins with his 1948 breakthrough, DRUNKEN ANGEL. Initial discussions centre on its viability as a cinematic — rather than theatrical experience — and then we delve into post-war Japan, Kurosawa’s relationship with gangster culture, and this film’s positioning as a metaphor […]

3.04 — THE HURT LOCKER and Individualism

Our final Kathryn Bigelow offering is the 2008 multiple-Oscar-winning THE HURT LOCKER (2008). After initial (and not entirely favourable) reviews, we discuss the film’s sparse qualities, the way in which Bigelow subverts expectations, and one particularly…interesting stylistic choice. We conclude with a look back at her filmography, as explored over the past month, focusing on […]