Small Town in a Big City

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Small places present the film­mak­er with a dilem­ma: Shoot­ing a film is an act of rev­e­la­tion, of uncov­er­ing secrets, yet the essence of a small place is often its shy­ness, its ambi­gu­i­ty, the fact that it refus­es to reveal itself.

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The Godfather

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From start to fin­ish, The God­fa­ther (1972) is a mas­ter­piece of pac­ing and mood, and an excel­lent exam­ple of how the estab­lished rela­tion­ship between cin­e­ma and archi­tec­ture can be upheld while being used in com­plete­ly fresh and excit­ing ways.

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Taxi Driver

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Mar­tin Scors­ese is wide­ly con­sid­ered the most influ­en­tial Amer­i­can film­mak­er of the last thir­ty years, and this is due in large part to his abil­i­ty to cap­ture the hec­tic ener­gy of the city in which he grew up. In many ways, Taxi Dri­ver (1976) is his most effec­tive movie: an unre­lent­ing por­trait of angst, nihilism, and the debil­i­tat­ing effects of urban life on the psyche.

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Walk Don’t Walk

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This is the sto­ry of a man who dreams of walk­ing in a gar­den. He lives in the city and his entire world is a col­lage of trains, bus­es and subways.

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One Year Older, Ten Years Wiser

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Next week we cel­e­brate Souly’s birth­day. Many take New Year’s Eve, Christ­mas, or Valen­tine’s Day to rem­i­nisce and make res­o­lu­tions. For me, the fact that the Earth has com­plet­ed one more rev­o­lu­tion around the sun, that a wise man was born 2000 years ago, or that some choco­late com­pa­nies want to make mon­ey means very lit­tle to me.

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Small Space

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I went out for the first time in Tokyo one cold Novem­ber night. The air was filled with a spir­it of fes­tiv­i­ty and the smell of sake, and the Yaman­ote train was espe­cial­ly crowd­ed with busi­ness­men well ahead of my friends and I in alco­hol intake.

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