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Shohei Imamura

A MAN VANISHES (Shohei Imamura, 1967)
“A highly original blend of documentary and fiction techniques (and a worthy precursor to Kiarostami and Makhmalbaf's later experiments).” - Senses of Cinema Making his first venture into docume… Read more

BALLAD OF NARAYAMA, THE (Shohei Imamura, )
“The Ballad of Narayama is Imamura's masterpiece.” - Senses of Cinema No holds barred in its depiction of a harsh village existence 100 years ago, The Ballad of Narayama is a remake of the 1958… Read more

BLACK RAIN (Shohei Imamura, 1989)
“Only the Japanese - perhaps only Imamura - could have made a film in which the bomb at Hiroshima is simply the starting point for an unforgiving critique of Japanese society itself.” - Chicago S… Read more

EIJANAIKA (Shohei Imamura, 1981)
“As a spectacle, it's stunning in its dynamism and the last half-hour presents one of the most libidinal depictions of a mass uprising since Eisenstein restaged the storming of the Winter Palace.… Read more

INTENTIONS OF MURDER (aka Unholy Desire) (Shohei Imamura, 1964)
“Arresting and provocative… An authentic shocker.” - New York Times Another film from Shohei Imamura often muttered in the same breath as ‘masterpiece', Intentions of Murder (aka Unholy… Read more

PORNOGRAPHERS, THE (Shohei Imamura, 1966)
He kills, laughing. That's the kind he is. Often touted as a Japanese In Cold Blood, Vengeance is Mine sees Shohei Imamura energetically depict a true-life murderer who kept evading a police dragnet… Read more

VENGEANCE IS MINE (Shohei Imamura, 1979)
He kills, laughing. That's the kind he is. Often touted as a Japanese In Cold Blood, Vengeance is Mine sees Shohei Imamura energetically depict a true-life murderer who kept evading a police dragnet… Read more

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