Shun Sugata Movies

A man discovers one of his literary heroes may be just as dark and twisted as his work in this thriller from director Barbet Schroeder. Alex Fayard (Benoit Magimel) is a French novelist who has earned an international reputation for his crime fiction. Fayard travels to Kyoto to help promote the publication of his latest novel in Japan, and he tells Ken Honda (Gen Shimaoka), Fayard's editor at his Japanese publishing house, that he'd like to meet Shundei Oe, a celebrated but enigmatic Japanese author who does not do interviews and has never been photographed. While Oe's works are full of moral ambiguity and dark undercurrents, Fayard is a man who believes that good can and must ultimately triumph. Honda takes Fayard out for a night on the town, and they visit a geisha house where Taomo (Lika Minamoto) is performing. Fayard is struck by Taomo's beauty but intrigued by a long scar running down her back, and she tells him (in perfect French) that it was inflicted upon her by a sadistic former lover. Taomo also confides that the same man is trying to work his way back into her life; Fayard offers to help her, and discovers that the cruel man who hurt Taomo is in close contact with Oe. Inju, La Bete dans L'ombre (aka Inju: The Beast in the Shadow) was based on a novel by Japanese author Edogawa Rampo. ~ Mark Deming, Rovi

In a departure from his acclaimed horror films Cure (1997) and Charisma (1998), Kiyoshi Kurosawa's License to Live is a gentle family melodrama that doubles as a meditation on personal identity. The film focuses on Yutaka (Hidetoshi Nishijima), the victim of an ugly car accident who suddenly wakes up from a 10-year coma. He soon discovers that his world has been turned upside-down in the intervening years. His formerly close-knit family has parted ways and his family home has been turned into a low-rent fish farm and industrial dumping ground by Fujimoto (Koji Yakusho), a gruff huckster friend of his father. Though Yutaka moves back into his family home, he is left feeling confused and unsettled, helped only by Fujimoto, who reluctantly serves as pseudo-father. Yutaka tries to pick up where he left off, but his attempts at meeting old friends and family members leave him feeling only more isolated. In a last-ditch attempt to reclaim his past, he reopens the pony ranch run by his financially incompetent father when he was a child. For a time, his mother Sachiko (Lily) and his sister Chizuru (Kumiko Asou) return to the homestead, and a semblance of the old family begins to cohere -- until a surprising, emotional twist forces Yutaka to realize that he must move on. As in his other films, Kurosawa couches metaphysical themes of identity and mortality in an engaging genre vehicle. Yet this work displays a strikingly minimalist style and a deft use of mood and pacing that point toward a greater maturity. This film was screened at the 1999 Toronto Film Festival as part of the Director's Spotlight. ~ Jonathan Crow, Rovi

Edward Zwick returned to the director's chair for the first time since 1998's The Siege with this sweeping period drama set in 19th-century Japan. After centuries of relying on hired samurai for national defense, the Japanese monarchy has decided to do away with the warriors in favor of a more contemporary military. Tom Cruise stars as Nathan Algren, a veteran of the U.S. Civil War who is hired by the Emperor Meiji to train an army capable of wiping out the samurai. But when Algren is captured by the samurai and taught about their history and way of life, he finds himself conflicted over who he should be fighting alongside. Billy Connelly, Tony Goldwyn, and Ken Watanabe co-star. ~ Matthew Tobey, Rovi

As one of the most cutting-edge Japanese filmmakers, Kiyoshi Kurosawa once again wraps a lowbrow, much-maligned genre -- in this case horror flicks (which were the rage in Japan at the time of this release) -- around some decidedly highbrow philosophical concepts. At the film's outset, Michi (Kumiko Aso) and her cohorts at a rooftop nursery cannot get ahold of their co-worker, Taguchi (Kenji Mizuhashi), who has an important floppy disk. When she ventures over to his apartment, she finds him pale, listless, and unusually quiet -- that is until he suddenly hangs himself. While the suicide is disconcerting, what really freaks Michi out is that Taguchi's body seems to dissolve into the wall, leaving a sickly black stain. Meanwhile, college slacker Ryosuke Kawashima (Haruhiko Kato) logs onto the Internet for the first time even though he is not particularly fond of computers. Instead of stumbling into a porn site or a chat room, he finds himself in a most peculiar site -- he just sees ghostly images of other people going about their everyday life. Then the computer prompts him, asking, "Would you like to meet ghosts?" Even though he eventually pulls the plug, the machine still on occasion springs to life. He eventually consults a comely computer maven named Harue (Koyuki), who is also utterly baffled. As more and more Internet users seal themselves into their rooms with red duct tape and melt into black splotches, Kawashima and Michi independently come to discover that the Internet has become portal for an increasingly crowded afterlife. As Tokyo becomes increasingly depopulated, Kawashima and Michi cross paths. This film -- which also features cameos by Kurosawa regulars Koji Yakusho, Jun Fubuki, and Sho Aikawa -- was screened at the 2001 Cannes and Toronto Film Festivals. ~ Jonathan Crow, Rovi