![]() ![]() Full List Of Winners Horizons Extra Audience Award: “Nezouh,” Soudade Kaadan Venice Classics Best Documentary of Cinema: “ Fragments of Paradise,” K.D. This post will be updated with winners as they’re announced. The Venice Film Festival draws to a close tonight with the awards ceremony, with Julianne Moore and her jury set to announce their standouts from the fest’s Competition selection. Organized in conjunction with the recent publication of series’ guest curator William Carroll’s Suzuki Seijun and Postwar Japanese Cinema (Columbia University Press, 2022), Seijun Suzuki Centennial delves into the versatility and audacious nature of the. Covering ground from his earliest yakuza feature (Satan’s Town) to his unbridled return to studio filmmaking after being blacklisted for 10 years (A Tale of Sorrow and Sadness) and his subsequent independent success (Kagero-za), this special series offers a rare glimpse into the core of Suzuki&rsquor s creative genius. She was recently appointed as an executive board member of the Tokyo Organizing Committee of the Olympic and Paralympic Games by virtue of her experiences and insights in arts and culture.Celebrating 100 years of iconoclast director Seijun Suzuki (1923-2017), a singular force in Japanese cinema whose radical stylistic vision and unpredictable narratives shaped the B-movie genre, Japanese cinephilia and the political New Left, Japan Society and The Japan Foundation present Seijun Suzuki Centennial-a selection of six films from across the filmmaker’s nearly 60-film body of work, all on imported 35mm prints straight from Japan. Ninagawa Mika was born in Tokyo, and graduated from Tama Art University in 1997. Moving beyond her warm gaze towards uniqueness or strength of individual, she has achieved a calm perspective that tries to understand a law of life and death of all creation. She conveys the situations where characteristic of small individual is swallowed into the big flow of the mass, and only through the movement of the mass the individual can express their existence as something grotesque yet beautiful, and dull yet fragile. Through her numerous images she often makes the boundary between individuals and the mass obscure. Ninagawa creates these visual experiences through which she conveys her observation and feelings towards contemporary society. The “noir” series depicts the extreme poles of life and death, allowing viewers to experience an overwhelming, even violent, life’s force and a deep, distorted, garishly colored darkness. Also featured is the works from the “PLANT A TREE” series, which captures the passing moments of beauty of cherry blossom along the Meguro river, Tokyo, all taken in only three hours. ![]() After being kept away from public view over years although she continued producing, these photographs, many of them are monochrome without “Ninagawa Color”, capture viewer’s eyes with fresh sensations of truly raw, unguarded artist herself. The Hara exhibition featured the “Self-image” series, Ninagawa’s early works that include many self-portraits. (Or maybe it’s more natural to say that as the result of competition between visual experiments and interests towards society, it lead to such perspective.) ” Especially an art critic Midori Matsui describes the essence of the exhibition: “through her solo exhibition, I felt strong criticism towards solitude and alienation of the mass of people in the bustle of contemporary society, and reification of humans themselves as well as exploitations of non-humans / animals. ![]() This year Ninagawa holds a major solo museum exhibition “Mika Ninagawa: Self-image” at Hara Museum of Contemporary Art, Tokyo, which receives high recognition both domestically and internationally.
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