Yūsuke Kafuku in the backseat of a car driven by Misaki Watari
Wim Wenders is the quirky German filmmaker responsible for gems like The American Friend, Paris, Texas, and Wings of Desire. He's a genuine auteur who is also adept at photography and documentary-making. Wenders got his start in the late '60s and made his feature film debut in 1970; nowadays, he is still at it, releasing his most recent movie, the drama Perfect Days, just last year.
Although not widely embraced on release, Wanda has since been praised for its bleak, unsentimental take on a crime film, emphasizing realism and minimalism. It's also semi-autobiographical, with the lead character drawing on Loden's feelings of being adrift and passive. Some reviewers have read political subtext into the character's struggles, though Loden has dismissed this interpretation. "This is one of the greatest films in history," Wenders said of it.
Passionate and gentle, A Story of Floating Weeds is unafraid to explore its premise's heightened drama. Ozu would go on to remake the film with sound in 1959 under the title Floating Weeds. There are intriguing connections and contrasts between the movies, prompting Wenders to declare the pairing "one of the most beautiful double-bills in film history." Indeed, Wenders is a major fan of all of Ozu's films.
Here, Keaton plays a hapless portrait photographer who falls in love with Sally, an MGM secretary. Determined to win her affection, Buster trades in his tintype camera for a movie camera, aspiring to become a newsreel cameraman. His transition is anything but smooth; he must contend with chaotic city streets and violence between feuding gangs. The Cameraman is thus a little meta, commenting on Keaton's struggles as a cog in the studio machine.
Release Date October 10, 1958 Cast Gary Cooper , Julie London , Lee J. Cobb , Arthur O'Connell Runtime 100 minutes Writers Will C. Brown , Reginald Rose 3 'Woman in the Dunes' Directed by Hiroshi Teshigahara "If it wanted to, the sand could swallow up cities and even entire countries." During an interview with Letterboxd, Wenders listed this allegorical thriller as one of his favorite Japanese films.
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