Kiyoshi Kurosawa

Wife of a Spy can be too reserved in stretches, but is ultimately fully invigorated by its monumental conclusion. Though over three decades into his varied, distinctive career, American critics have only really paid Kiyoshi Kurosawa intermittent attention, almost exclusively recognizing him for his…

Wife of a Spy Though over three decades into his varied, distinctive career, American critics have only really paid Kiyoshi Kurosawa intermittent attention, almost exclusively recognizing him for his contributions to J-horror, with 1997’s Cure and 2001’s Pulse eating up the majority of their…

 “I find ghosts in Japanese horror much more terrifying. In the standard American horror canon, because a ghost violently attacks you or comes after you, at least you have the chance to fight back… but if they don’t attack you then the best you…

From our Honorable Mentions post: It goes without saying that 2020 was a year like none other in recent history. Significantly, by virtue of living through such times, it’s also a year that retuned minds to see history being made in the present. There are…

To the Ends of the Earth is a masterwork of adventurous, boundary-less filmmaking.  Kiyoshi Kurosawa has been here before. Not to Uzbekistan, where his newest film is set — and which is indeed new territory, geographically speaking — but to this border zone openly contested…

We at InRO have never covered the Portland International Film Festival, but we’re all about evolving in 2020, and so here is our first ever dispatch (and the first of several we’ll be publishing across the next week). Featuring a slate packed with fall…

Our first dispatch from the 2019 Toronto Film Festival (which runs from Sept. 5 – 15) finds us finally catching up with a lot of titles from this year’s Cannes Film Festival (Bong Joon-ho’s Parasite, Celine Sciamma’s Portrait of a Lady on Fire, the Dardennes’…

In the 1990s and 2000s, Kiyoshi Kurosawa emerged as one of world cinema’s most accomplished and interesting filmmakers: Cure, Pulse, Bright Future, and Doppelganger (among others) are potent, arthouse-friendly genre films — or, alternately, genre-friendly arthouse films — that far transcend their J-horror marketing to explore, in…

Our fourth dispatch from this year’s New York Film Festival (here’s one, two, and three) includes the Chinese-American filmmaker Chloé Zhao’s docudrama The Rider, about South Dakotan rodeo culture; Kiyoshi Kurosawa’s Invasion of the Body Snatchers/Starman hybrid Before We Vanish; and Ben Russell’s Good Luck, a relatively normal (for him),…

Although widely dismissed during its initial premiere, Daguerrotype, Kiyoshi Kurosawa’s first French-language production, finds the Japanese genre master in peak form; the first hour alone fulfills the promise of the director’s formal rigor being transposed to a ghost story in the French countryside. Jean…