Rie Miyazawa

The Twilight Samura

IMDb:
2002
min

A 19th-century samurai tries to protect a battered wife.

Seibei Iguchi, a low-ranking samurai, leads a life without glory as a bureaucrat in the mid-XIX century Japan. A widower, he has charge of two daughters (whom he adores) and a senile mother; he must therefore work in the fields and accept piecework to make ends meet. New prospects seem to open up when Tomoe, his long-time love, divorces a brutal husband. However, even as the Japanese feudal system is unraveling, Seibei remains bound by the code of honour of the samurai and by his own sense of social precedences. The consequences are cruel. Written by Eduardo Casais . In the Nineteenth Century, in Unasaka, Province of Yamagata, in the Feudal Japan, the widow samurai Seibei Iguchi works in the warehouse of the local Commissioner during the day and handicraftsman building cages in the night to have an income of 50 koku (meaning “a quantity of rice, historically defined as enough rice to feed one person for one year”wink.gif. Seibei raises alone his two daughters, the five year-old Ito and the ten year-old Kayano and his senile mother in a simple property, and has a debt of 20 koku due to the expensive funeral of his wife, who died of tuberculosis, imposed by her family and can not afford to have another wife. His colleagues in the warehouse pejoratively call him “The Twilight Samurai” to express his life without glory. When Seibei meets Michinojo Iinuma, his childhood friend tells him that his sister Tomoe Iinuma has just divorced from he brutal husband Toyotarou Kouda. Seibei reencounters Tomoe, for whom he has been in love since he was a child, but Tamoe is member of a family of 400 koku and Seibei believes their difference of classes makes their marriage impossible. When Kouda challenges Iinuma to a duel, Seibei accepts to replace his old friend and needs to use his skills of swordsman again.


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The Face of Jizo

IMDb:
2004
min

It begins with Mitsue (Rie Miyazawa), a young librarian, rushing home in a thunderstorm, frightened out of her wits. Her terror, we soon see, is a product of the war, particularly the atomic bombing of Hiroshima, which she barely survived.

She lives with her father, Takezo (Yoshio Harada), in their bombed-out house, now partly repaired. Dad is her confessor, adviser and friend, the only one she can tell about her fears, dreams and past. Most of her friends and family died in the bombing – including Dad.

That Dad is with her only in spirit doesn’t faze her. He looks, acts and talks like one of the living. But, as befits a ghost no longer bound by selfish earthly concerns, he is interested only in her problems. Particularly her budding relationship with the shy, bespectacled Kinoshita (Tadanobu Asano), who is researching the bombing and wants Mitsue’s help – and possibly slightly more than that.


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Pieta in the Toilet

IMDb:
2015
min

Hiroshi (Yojiro Noda) has given up on his dreams of becoming a painter and works part-time cleaning office windows. He learns that he has only 3 months left to live. During his last summer, high school student Mai (Hana Sugisaki)…


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Pale Moon

IMDb:
2014
min

A mellow drama following the moral decline of a housewife turned bank employee who embezzles a fortune from her customers and indulges in an affair with a younger man. Set in 1994, shortly after the burst of Japan‘s economic bubble.


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Gugu Datte Neko De Aru

IMDb:
2014
min

Asako (Rie Miyazawa) lives in Kichijōji, Tokyo. She works as a popular manga artist. Everyday, she is busy meeting deadlines, but suddenly her pet Saba dies. Since the death of her pet, Asako cannot draw or even eat. Her editor Omori recommends to Asako to try moving to a particular house. After she moves in, her life does not get better.
One day, when Asako walks in Inokashira Park, she meets a homeless person carrying a sick kitten. Asako wants to help the sick cat. Without telling the homeless person, Asako takes the cat to the hospital.


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Gou Gou, The Cat 2: Good Good The Fortune Cat

IMDb:
2016
min

Asako (Rie Miyazawa) lives with two cats, named Gou Gou and Bi, in Kichijoji, Tokyo. She works as a popular manga artist. Her assistant Minami (Haru Kuroki) prepares to work independently as a manga artist. Iida (Atsuko Maeda) applies for Minami’s former assistant position.


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Gou Gou The Cat

IMDb:
2014
min

Asako (Rie Miyazawa) lives in Kichijōji, Tokyo. She works as a popular manga artist. Everyday, she is busy meeting deadlines, but suddenly her pet Saba dies. Since the death of her pet, Asako cannot draw or even eat. Her editor Omori recommends to Asako to try moving to a particular house. After she moves in, her life does not get better.

One day, when Asako walks in Inokashira Park, she meets a homeless person carrying a sick kitten. Asako wants to help the sick cat. Without telling the homeless person, Asako takes the cat to the hospital.


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Go hime Bassara The Princess Goh

IMDb:
1992
min

In timeline at least, this is a sequel to director Teshigahara’s earlier film Rikyu, which can be found on Asia Torrents here: RIKYU It follows the lives of Princess Go and Lord Oribe Furuhata from just after Rikyu committed ‘sepukku’ when Hideyoshi Toyotomi was in power until just after Lord Oribe’s death when Shogun Ieyasu Tokagawa was in power.

Though the daughter of the Lord of the Maeda clan, Princess Goh was adopted at birth by Hideyoshi, the supreme ruler at the time, who until that point had been unable to sire any children. He brought her up almost as a son and spoiled her quite completely. She was very intelligent and became highly
skilled in the martial arts. She was also very headstrong and the arrogance of her youth matured into an imperious self-confidence as she aged. Throughout her life she used the more assertive (and usually masculine) form of the first person pronoun (ware) rather than the more socially acceptable, less assertive form generally used by women (watashi). There was nothing reticent or weak about this woman. Her story shows us her youth and early friendship with Lord Oribe during Hideyoshi’s reign and then her later life under a virtual house arrest at her family mansion in Kaga. It is her attempt to renew her friendship with Oribe by inviting him to a tea ceremony with Lords Ukon and Tadaoki that stirs up not totally unforseen troubles.

Intertwined with her storyline is the life of Lord Oribe who inherits Rikyu’s position as Tea Master to Hideyoshi, although that comes with a thinly vieled threat to do better or suffer a similar fate. The film opens with this scene between Hideyoshi and Oribe. It is filled with tension and
threat. As an aside, there have been some criticisms of Teshigahara’s direction as being stiff, especially in this sort of scene. I would suggest that they come from a complete misunderstanding of the cultural and social millieu where even a nobelman like Oribe had to be very careful of every word and gesture for fear of upsetting a man who could easily have him killed. There is a very clear stiffness and awkwardness underpinned with fear and warriness which I believe is completely intended by the director.

Later in the film Oribe finds himself in a similar relationship with Ieyasu. In this case it has to do with Ieyashu’s fear of a Christian rebellion and that fact that Oribe’s sister had married Lord Ukon the most prominent
daimyo to convert to Christianity. Also Oribe’s close friend Lord Hosokawa Tadaoki had married a very prominent and influencial noblewoman who converted to Christianity and took the name Gracia. These relationships caused Ieyasu to suspect Oribe’s loyalty.


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Ashura

IMDb:
2005
min

In bustling, 19th-century Edo, demons lurk in the shadows, disguised in human form. They are loathe to show their true faces, for even in disguise, they can easily be spotted and slain by the arrogant Demon Wardens. But then Bizan, the beautiful leader of the demons, appears to Kuninari, the captain of the Demon Wardens and smugly tells him that the rebirth of Ashura, the Queen of the Demons, has been foretold, and that mans reign over the world will soon end.


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