Programme - Cinema Noveau

	Gateway: Durban	Sep. 19 - Sep 25
?	Cavendish Square: Cape Town	Oct. 3 - Oct.9
?	Brooklyn Mall: Pretoria	Oct. 17 - Oct. 23
?	Rosebank Mall: Johannesburg	Oct. 24 - Oct. 30

Notes

All Films are in Japanese with English subtitles.

Free tickets at box office one hour before screening.

Details can also be found at: www.sterkinekor.com

Presented by:

The Japan Foundation

Chamber of Commerce and Industries of Japan (CCIJ)

Synopsis

HOME OF ACORNS

(1997/110 min)
Director: Takashi ANNOU

A feature-length documentary animation film reflecting the anguish experienced by families of children with severe mental and physical retardation and the people who support them devotedly. The film is a depiction of the ideal humanitarianism and interdependency that unfolds under these circumstances.

The story revolves around Keiko, daughter of Mr and Mrs Tazaki, a disabled girl with hearing difficulties and mental defects, and the many obstacles and challenges encountered by the family.

Keiko attends a school for the deaf, and grows up with other handicapped children and their folks. Centering on heart-warming rapport between Keiko and her mother, this film gives a vivid description of Keiko as she grows up, helping handicapped children, their folks and teachers; and ultimately realizing her dream of opening the ?Home of Acorns?, a workshop for handicapped people.

This animation film is based on a comic under the same title, set against the backdrop of a workshop for the severely handicapped in actual existence.

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SAMURAI REBELLION

(1967/128 min)
Director: Kobayashi MASAKI

In the Samurai society of the Edo period (1603-1868), the Shogun?s order was absolute law to any clan, and the clan lord?s order was in turn absolute law to his retainers. A Shogun?s concubine was often handed down to a clan lord, and a lord?s concubine to his retainer. The lord had to obey to protect his clan, no matter how unreasonable the order, and so did the retainer to protect his family.

This film tells of the tragic story of samurai, SASHARA ISABURO, retainer of the AIZU clan who resisted the feudal system when he was ordered to accept the marriage of his son YOGORO to ICHI, concubine of his lord MASAKATA?s and mother of MASAKATA's son KIKUCHIYO. When Lord MASAKATA?s eldest son dies suddenly and KIKUCHIYO becomes the new heir, ICHI, the mother of the lord apparent, is summoned back to the castle. ISABURO who has lived only to protect the lineage and traditions of the SASAHARA family resolves with his son to rebel against the clan.

Set in Aizu (eastern part of Fukushima Prefecture) in the early 18th century, this MASAKI's second film with an anti-feudalistic theme.

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SCARRED ANGELS

(1997/118 min)
Director: Junji SAKAMOTO

Detective MITSURU's decision to leave town following a fight with his assistant, HISHASHI is halted by the prospect of another assignment which leads him to Kurai TAKUYA whose dying wish is for MITSURU to re-unite his son, Hotaru with his mother. His mother on the other hand, soon to be re-married, has no desire to be re-united with Hotaru. This turn of events leads to Hotaru going to live with his grandfather. In the meantime, MITSURU and HISASHI re-unite only to be separated when MITSURU is hunted down and killed by the yakuza responsible for TAKUYA's death.

Based on a famous 1970?s television show of the same title, SAKAMOTO's version, however, is a kind of celebration of the seventies, as evident in the music. The setting, however, is the 1990?s, emphasizing more on a mix of out-of-fashion coolness and tearful male camaraderie than on the social rebelliousness of the original. Sakamoto plays up the homosexual undertones between the two leads that were only hinted at in the show.

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Laundry

(2000:126 min)
Director: Junichi MORI

A romantic drama exploring the relationship that flourishes between mentally challenged TERU who works at his grandmother's laundry, and MIZUE, who leaves her dress behind at the laundry after a suicide attempt. MIZUE's past hinders her ability to pursue a relationship with TERU. Feelings of unworthiness leave MIZUE resorting to shoplifting which once again results in her being imprisoned.

TERU, who has never known the love of his parents, has always wondered about the concept of ?love?. But gradually, he is touched by the kindness of MIZUE and starts to understand that this queer warm feeling must be what they call ?love?. TERU's innocence and loyal devotion is what ultimately saves MIZUE and heals her wounds.

THE HARP OF BURMA

(1956: 116 min)
Director: Kon ICHIKAWA

By July 1945, the war was nearing its end for the Japanese forces in Burma. Among the many units crossing the mountains of Burma to escape into Thailand was one in which the men sang songs to the accompaniment of a strange handmade instrument resembling a Burmese harp.

Private MIZUSHIMA was an expert at playing this instrument. He would dress in the costume of a Burmese native and walk ahead of the unit. When the way was clear, he would signal the men forward by playing a tune on his harp. Time after time, he had saved the unit from falling into an ambush?.until MIZUSHIMA himself was wounded and together with his harp, went missing.

The film provides insight into the events that culminated in Private MIZUSHIMA?s decision to become a monk and his sorrowful and pitiful determination to stay in Burma to provide thousands of Japanese soldiers who die in Burma a place where they can repose in peace.

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YAGYU ICHIZOKU NO INBOU (SHOGUN?S SAMURAI)

(1976/130 min)
Director: Kinji FUKASAKU

This film was FUKUSAKU?s first costume drama and a box-office hit. When TOEI's theme park in Kyoto, Uzumasa Eigamura proved to be a great success, the studio bosses decided that historic costume drama, the genre which made Toei great, should be given a new lease on life. It was already ten years since the last film in this genre had left the TOEI Studio.

At the start of the seventeenth century when Shogun Tokugawa Leyasu died suddenly, a battle for succession was unleashed between the eldest and the second son. Everyone became involved, from the circles of the Shogunate, the Imperial court and the rural aristocracy. The so-called Yagyu clan united behind Leyasu?s eldest son and plotted on many fronts, like cunningly using the demand that the shogun has to be initiated in kendo sword-fighting. They also sent swarms of ninja spies to eavesdrop on and besiege the enemy. In the midst of these intrigues, there was also the split between the patriarch of the Yagyu clan and his eldest son.

The film portrays a dramatic whirlwind of sword-fighting, political intrigue, family drama and love.