Barbara Scharres

John Woo’s last film made in Hong Kong before his emigration to the U.S. reflects the city's anxieties and state of crisis throughout the decade.

Dodes’ka-den was made at a low point in Akira Kurosawa’s long career-perhaps the lowest that the director has ever known. In the preface of the filmmaker’s autobiography, critic and translator Audie Bock reports that Kurosawa’s commercial pro

Kenji Mizoguchi departed abruptly from his earlier sentimental films into a world of acute realism with this bold critique of the position of women in contemporary Japanese society.