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Spirited Away (2001) by Miyazaki Hayao is a Japanese animated film produced by Studio Ghibli. The story begins with a little girl named Chihiro, who is traveling with her parents to a new home. They encounter a tunnel and explore through it. The parents turn into pigs as a consequence for eating Yubaba’s guests food. With the help of a mysterious boy, Haku, Chihiro becomes contracted with Yubaba in order to survive the spiritual world by working. She uses this opportunity to find a way to return her parents back to normal and return to their world. Towards the end of the movie, Haku is gravely injured from stealing from Yubaba’s twin sister, Zeniba, and Chihiro ventures by train with No Face, Bo, and Yu-bird to return Zeniba’s stolen good. Then, Haku goes to retrieve Chihiro and Bo after waking up from his short coma. At the end, Chihiro was able to break the contract, bid her farewells, and return home with her parents.

It was my first time watching Spirited Away. I remember vaguely that I might have watched it half way through when I was younger, but I believe it was because I did not understand the film as much compared to being older. So far, I really like the film’s storyline and the art. The music was nice along the way too. When Chihiro was going down the stairs to the boiler room, the moment she broke through the step, it gave me a big jumpscare. The encounters with the susuwatari were very cute. The way that they realized Chihiro could carry the heavy rocks for them was adorable. Despite their job being in possible risk, they quickly enjoyed Chihiro’s presents and defend her against Kamaji. After Chihiro started working, she has a few encounters with No-Face. My thoughts on No-face is he is like a lonely kid. He is always alone until he met Chihiro who showed him a small amount of kindness. Although it was a bit shocking to me to have seen the outcome of him after getting rejected by Chihiro, but watching him become back to normal and follow her just as he used to made me feel like things are getting back to normal again. 

There was one scene I thought was interesting. While Chihiro, No-face, Bo, and Yu-bird are on board the bus. There is one shot where you can see Chihiro facing the side against her reflection in the window. In her reflection, her eyes and skin looked empty. It looked like we were seeing her soul in the reflection, while she is manuevering her somewhat soulless body.  I am pretty content with the ending of Spirited Away. I would like to rewatch the Dub version sometimes eventually. It is not my first time watching a film produced by Studio Ghibli. My childhood favorite film produced by them is Ponyo. I’ve watched it in both dubbed and subbed. I am hoping to watch more of their films in both translations.

Sukiyaki Western Django (2007) by Takashi Miike is a western and action film. It is played in the English language in a Western-styled Japan. The story revolves between two warring clans, the Heike and Genji, also known as the Reds and Whites. Amidst the turmoil, a lone traveling gunman meets both sides and rejects their requests for him to join them. Eventually he is taken in by Ruriko and later he meets Shizuka, a prostitute, mother of young Heihachi, wife of deceased Akira, and daughter in-law of Ruriko. After Shizuka warns the gunman of one of the Genji’s men revenge for him, he tells her to leave with his son. Unfortunately, Shizuka meets her end when she comes back to retrieve her “heart.” A plant growing with white and red colors. Then, it is revealed that Ruriko is Bloody Benten and she is seeking revenge for her son’s death. She also had Akira with Piringo, another talented gunman. In the end, the gunman has his final battle with Yoshitsune, leader of the Genji’s, and the Heike’s are killed by Ruriko. She is eventually killed by the sheriff.The gunman leaves town and he farewells Heihachi with a handful of gold. Heihachi in turn grows up into a gunslinger named Django. After watching the film, I enjoyed the action filled scenes and the camera work following the fights. I also felt like the story was dark. The death of Heihachi’s whole family was very sad and I believe the gunman had a similar experience as Heihachi and that is why there are flashbacks of a man and lady hung by a bridge. What I did not like was the things that Shizuka had to deal with after her husband’s death. She was raped and others attempted to, and she was constantly suffering from trauma. I felt bad for her as she sought revenge for her family by becoming a prostitute for the Genji and being killed for trying to save the plants Heihachi and she felt dearest to. Other than that, I was also intrigued by how creative the sets were made and the camera work where it shows plenty of headshots to show expressions on the faces of the actors. At the end, when they bring up what happens to Heihachi, I found it interesting how he decides to become a gunslinger in response to the trauma he has faced each time.

Sweet Bean (2015) by Kawase Naomi is a Japanese film that centralizes on freedom and joy. The story centralizes on a man, Sentaro, who runs a small Dorayaki shop in order to pay off a long-term debt. One day, an older lady named Tokue is attracted by the scent of the Dorayaki and is interested in his part-time hiring sign. Due to the possible liability from her old age and crippled hands, Sentaro rejects each of her attempts to become hired until she leaves a carton of An, sweet bean paste, that she made for him to try. Their next encounter, they begun to work together and the new serving of An blossoms Sentaro’s shop. Soon after, the wife of the deceased owner of Sentaro’s shop comes by to discuss firing Tokue because of her case of leprosy. Eventually, Sentaro does begin to lose business and Tokue quits upon noticing the occurrence. This was not the last encounter for Sentaro and Tokue. Sentaro and Wakana, a school girl and close friend, visits Tokue a few time at her home in the quarantine for those with leprosy. A few months Tokue passes away from Pneumonia and Sentaro opens his own stall with the equipment passed down from Tokue. 

This film was very beautiful and sad. I really enjoyed watching it and would recommend family and friends to watch at least once. There was not a lot of music present throughout the film. Only the sounds of the environment and the interactions between people. I believe there was only one incident where music was played. The shots of the scenery and the camera work was clean and the film overall felt very realistic. In the beginning of the story, I thought it would be similar to Tanpopo, whereas the owner of the little shop works to improve on a recipe. Although it was not the same, it was similar in the aspect that both shops wanted to change their a part of their food. I did not expect the amount of sadness the film would have brought, and listening to how patients from leprosy longed for freedom from quarantine and illness. Especially Tokue’s statements throughout. She would mention how lucky and it must be nice to be young like the school girls. Due to her illness, achieving her dreams were deemed impossible and her freedom was taken away since she was young. Tokue is a very loving and kind spirit. She just wanted Sentaro to feel joy and feel free just like the birds and the trees. I really enjoyed the ending despite the death of Tokue. Sentaro looked happier compared to the beginning of the film and receiving Tokue’s care, equipment, and recipe allowed him to step out from his past.

Ring (1998) by Nakata Hideo is a psychological horror film. It is about a journalist, Asakawa Reiko, who investigates into the mysterious death of her niece and her friends. After some clues, it leads her to a tape that is known for being cursed. It causes the viewer to die after seven days from watching it. Asakawa comes into contact with the tape while she went to investigate the site where her niece and her friends hung out. Immediately, she watches the tape and she experiences the same encounters as those who watches it. Afterwards, she partners with her ex-husband Ryuji, who has the ability to sense supernatural beings, to help her resolve the curse before her seven days. Apparently, her son, Yuichi, watched the cursed tape as well because Tomoko told him to do it. This further complicates and rushes them to figure out the case. In the end, they figure out that the curse was caused by a vengeful spirit named Sadako. Sadako was pushed and killed in the well by her own father. In order to uplift the curse, they figure out where she died and retrieve her remains. Unbeknownst to them, the curse was not lifted and Ryuji is killed on his seventh day, meanwhile Asakawa does not. She figures out that you need to let someone else watch the copy of the tape in order to pass along the curse of Sadako. In order to save her son, she is seen driving to her father with intention of having him watch the tape.  After watching the film, I felt like the film was intriguing and not very scary as I thought it would be. I could see how the Ring would be more frightening in the past compared to our modern horror films. The scenes that were intended to be frightening or disturbing were humorous. An example would be the pictures of the distorted faces. The shaping and features designed to make it look scary were perceived as silly and like our modern day face filters. Watching this film reminded me of my childhood. I remember as a kid that the older children and my classmates would often talk about old scary stories and curses. It used to frighten me a lot as a kid and traumatized me growing up until I learned that the chances of it happening of them becoming true is low. Just like the story of Sadako, I believe Bloody Mary is similar to it as well. In order to trigger Mary to appear in the mirror, you have to repeat her name a certain number of times in a dim-lit room. Afterwards, she attacks the person who calls for her. Similarly, I believe they are related as being a vengeful spirit and both have a trigger to their curse in their own way.

This movie was a ride from start to finish, impossible to predict the direction it was going to take next. Swallowtail Butterfly, directed by Shunji Iwai, follows plotlines of prostitution, counterfeiting money, starting a business, becoming an idol, gang violence, and even more I can’t think of right now. The core of the story, however, was the building of a community of Yentown’s immigrants, and the development of them as individuals who can make a life for themselves.

The characters speak a mix of English, Japanese, and Chinese. I was confused at times why they were speaking English, but I realized that even though it sounded like they weren’t proficient based on their pronunciations, they were probably supposed to be native speakers or at least comfortable with the language. Also, when I wasn’t locked in sometimes, I got confused as to why the characters weren’t understanding each other until I realized they were speaking different languages. Nonetheless, the language diversity made for an interesting display of culture clash. One character, the Japanese-born to American parents, made an interesting note of how language affects the way people are treated. Because he looks like a foreigner, people assume him to speak English and maybe not Japanese, which leads to some feelings of exclusion.

Through the resilience displayed by characters such as Ageha, Iwai shows a certain admiration for immigrants in Japan. Similar to the movie GO, immigrants aren’t necessarily treated well by natives, and tend to face more obstacles than natives. However, through both unlawful and wholesome (sometimes) means, the characters advance through society and find success. It starts with counterfeiting cash, but once the initial investment is obtained, Fei Hong wants to start an honest business and community for Yentown, as well as push Glico towards becoming an icon.

I was a little confused about the purpose of Glico’s brother in the film. His gang did add a lot of action to the movie, such as the hilarious scene of them being obliterated by a bazooka. It also could have been to show a different approach for immigrants to gain wealth. Although his people did many bad things, certain scenes showed him to have a good heart. I wish he could have met Glico, but the ending we got was, in a weird way, satisfying. All that he committed all this violence for was just handed to him by Ageha.

Imagine a cop movie where the good guy wrestles with guilt and a world teetering on the edge. That's the vibe of "Hana-bi," a 1997 film by the one and only Takeshi Kitano. Kitano, a real-life comedian with a knack for deadpan humor, also directed, wrote, and starred in the film, lending it a unique blend of darkness and wry observation.

The story centers around Nishi, a detective haunted by a past shootout that left his partner paralyzed. Wracked with guilt and facing his own wife Miyuki's terminal illness, Nishi decides to throw in the towel and quit the force. But with Miyuki's treatment costing a fortune, Nishi makes a desperate move – he borrows a hefty sum from the yakuza, the Japanese mafia. Big mistake.

Now Nishi is on a collision course with disaster. He pulls off a bank robbery to pay back the loan, only to find himself deeper in the yakuza's clutches. The violence unfolds in a slow-burn kind of way, punctuated by moments of unexpected brutality. Kitano's signature stoic gaze adds another layer to the film – you never quite know what's going on behind those impassive eyes.

There's a tenderness to "Hana-bi" that cuts through the gritty crime drama. The relationship between Nishi and Miyuki is beautifully portrayed, their quiet moments together a stark contrast to the chaos swirling around them. These scenes are little pockets of warmth in a film laced with melancholy. We see a genuine love and connection between the couple, their unspoken understanding a testament to the years they've spent together.

The score by Joe Hisaishi is another highlight, weaving melancholic melodies and soaring strings that perfectly capture the film's emotional core. The music is like a character in itself, underscoring the characters' inner turmoil and the sense of impending doom that hangs over the film.

"Hana-bi" isn't your typical action flick. Don't expect shootouts galore. The film is more interested in exploring themes of loss, regret, and the lengths people go to for those they love. It's a meditation on mortality, with fireworks – the film's literal translation – serving as a poignant symbol of fleeting beauty and the impermanence of life. The use of fireworks is particularly striking in a scene where Nishi and Miyuki watch them illuminate the night sky. The fireworks are a temporary spectacle, a burst of brilliance against the vast darkness, mirroring the fragile and fleeting nature of life itself.

The ending is a masterclass in ambiguity. Kitano leaves things open to interpretation, forcing viewers to grapple with the characters' fates and the lingering questions about their choices. It's a film that stays with you long after the credits roll, prompting reflection on the fragility of life and the complexities of human relationships.

So, if you're looking for a crime film with a difference, one that's equal parts brutal and beautiful, "Hana-bi" is definitely worth checking out. Just be prepared for an emotional rollercoaster ride.

Yukisadas film was one of the first in this class that has taken a critical stance on racial and nationality lines. Likely born out of the developing changes over time and the Japanese societal ways of integrating other people into their society. This film follows Sugihara, a Japanese born North Korean and his trouble integrating into the Japanese society. He wrestles with discrimination topped with the teenage troubles of love and rebellion with his family. I highly respect this film’s approach to tackling such a difficult topic and bringing recognition to the residents in Japan that face this issue.

Being non-Japanese in Japan and then a minority on top of that garners some strange interactions with people. In public settings, many foreigners experience a sense of isolation just based on being a foreigner. For example, it is not unusual for a foreigner or minority sitting down in a bus or train with open seats next to them and several people avoiding sitting next to them. In some occasions this could even occur in a packed train or bus. On the other hand, open seats with local Japanese are quickly filled over the ones which are next to a foreigner.

Another unfortunate story I hear from mixed Japanese people is that because of their looks and being mixed, they are not treated as Japanese. Even though they went to Japanese school, can only speak Japanese, and are fully integrated in the culture, they are treated as not Japanese. I have heard of biracial Japanese people being spoken to continually in English regardless of how much Japanese they speak. These same racial and nationality challenges are seen within Go. Sugihara is bullied by those in school because of his North Korean nationality. Going through these difficulties exacerbate his rebelliousness and causes him to resent his nationality. This is seen through many of his narration throughout the film where Sugihara criticizes his father in his narration for his pride in North Korea and eventually for him changing to a South Korean passport to be able to travel.

Tampopo by Itami Juzo, is a Japanese comedy film that tells a story about a widowed women who owns a small ramen shop called Lai Lai. She meets a truck driver named Goro who saves her son from school bullies and comes in to eat her food. After hearing Gun’s advice on her ramen, she begs him to help teach her to cook proper ramen. He agrees to teach her and film proceeds to show a series of events of her learning, developing, and improving her skills. She meets plentiful of new people who support her journey. In the end, she meets her goal and Lai Lai is renovated and renamed to Tampopo with many customers in line waiting to have her food.

My overall thoughts on this film was interestingly funny, gross, and yet heartwarming. The opening scene of the man in the white suit was neat as he was looking and talking towards the camera, as if he was talking to the audience watching the film. Once the main protagonist was introduced, the widowed ramen shop owner, the story proceeds to be a heartwarming learning journey, but occasionally there were scenes that seemed completely off topic from the main plot. These scenes felt similarly to ads as they abrupt and were related to food as well.

 I found the first scene where a group of business executives visit a French restaurant for dinner. The executives ordered the same thing as the director, but there was one subordinate who orders a whole meal knowing the menu compared to all of them. This scene was very funny to me as each person, including the director, were red as an apple from embarrassment and looking down. 

The next scene shows an older man having a sweet time with his mistress. I thought it was going to be a normal sexual interaction for the couple…but behold. We ended up watching them make out by exchanging an egg yolk until it popped in her mouth. Eventually the man has an encounter with an oyster diver and their make out scene was just as disturbing to me especially with his bloody lip. This man definitely has an interesting fetish for food. 

Although not the last scene, I thought this one stood out to me as well. An older working man runs home to his dying wife, children, doctor and nurse. It was sad watching the man tell his wife not to close his eyes because he wanted her to keep living. He goes as far to shake her excessively and then he tells her to get up and go cook. I was surprised by this, but she immediately gets up and cooks dinner while struggling to keep her balance. After serving dinner to her kids and her husband, she smiles happily knowing they loved her cooking and she collapses. The doctor and nurse calls her time of death right away after checking her pulse. This was really sad moment. The father then tells his children to keep eating and cherish the last meal their mother made for them. They memorialize her through food, feeling the love she put in it before leaving them.

This movie was so funny and very enjoyable to watch. One of the most enjoyable portions of the films was the camera work and direction throughout the whole movie. It was done with such style and uniqueness, I found myself calling out some different camera techniques throughout the film. In the beginning of the film when Yoshimoto (the tutor) is hired, the family and him all sit at the table together. Everyone is tightly joined shoulder to shoulder eating together at the table. The camera frame for this scene though was tight to the outer shoulders of the outer actors. The camera framing showed the congestion of the household and the limited amount of breathing room between each actor. Another interesting part throughout the film was the background effects they would have in one scene. I am not sure if this was just for comedic effect, but it was very noticeable. In one scene when the mother brought Shigeyuki and Yoshimoto snacks and tea, the books on the desk and other items just slid out of the scene.

Another thing that I was not so sure about was the sound cuts throughout the film. Occasionally, the sound would stop during the film, but the scene would continue. After a short time, the sound would cut back on loudly to a character almost shouting something. While I am sure this must have been for dramatic effect, I struggle to see another meaning in this. Another unique scene was when Yoshimoto was chasing Shigeyuki down the stairs. I found this absolutely hilarious, and you could see them each running down the stairs at the same pace and at the same part of stairwell. This must have taken many times to perfect and I definitely appreciated the comedic effect it had overall.

Despite having the claustrophobic aroma mentioned earlier, what I find surprising is that even though this family is so close, they do not know much about each other. The father drinking soymilk in the bath and slurping egg yolk. The older brother Shinichi pursuing a love interest and growing despondent toward his high school life and studies. The mother’s boredom and difficultly in finding ways to fill her time and help her family. Finally, Shigeyuki’s progression and transformation from delinquent to a better student is mainly seen only by Yoshimoto.