Koji Yakusho

A bout of terminal cancer alters the course of a man's life in completely unexpected ways in Walking My Life (AKA Zo No Senaka), Japanese director Satoshi Isaka's thoughtful domestic drama. At age 48, Yukihiro Fujiyama (Koji Yakusho) has virtually everything a man could want - a respectable job as a project chief at a real estate company, a satisfying marriage and two children. When the said diagnosis hits, however, it prompts Yukihiro to both shun conventional treatment and set about righting past wrongs from his life - he visits his undeclared high school love to inform her of his feelings, reestablishes contact with his estranged brother (Ittoku Kishibe) and re-initiates a friendship with his buddy from high school. Problematically, however, Yukihiro finds that he is somehow unable to inform his wife of the impending disease, even as he struggles with an even graver secret of which she is unaware. When she finally learns of the cancer and questions her husband about his reason for concealing the disease, he declares that, however much time he has left, he would much rather live for today than for the future. ~ Nathan Southern, All Movie Guide

Francois Girard's adaptation of Alessandro Baricco's novel Silk stars Michael Pitt as a young Frenchman who travels to Japan at the request of a wealthy silkworm magnate who asks him to smuggle back some new worms. The mission succeeds, and this allows the man to live in great comfort with his wife (Keira Knightley). After a few years, they are unable to conceive a child, a situation that leads to the man taking on a lover during his subsequent visits to Japan. ~ Perry Seibert, All Movie Guide

Japanese horror producer Taka Ichise -- the force behind Ringu and Ju-on: The Grudge -- and Kiyoshi Kurosawa, the director of Pulse, team up for the supernatural horror picture Retribution (aka Sakebi), starring Koji Yakusho, Riona Hazuki, Tsuyoshi Ihara, Manami Konishi, Ryo Kase, Hiroyuki Hirayama, and Jô Odagiri. Yakusho plays Yoshioka, a cop tormented by strange details surrounding the murder of a local woman (Riona Hazuki) in a red dress. Though ostensibly killed by being drowned in a shallow, tepid pool of muddy water, an autopsy reveals the woman's belly as full of seawater. Moreover, a button found at the murder scene matches one that is missing from a coat Yoshioka purchased, and fingerprints that cover the body match his own. Yoshioka thus immediately reasons that he must have killed the woman but blocked it out, despite the assurance of his colleagues that he probably just touched the body sans gloves. He is soon visited repeatedly by the apparition of the victim (red dress intact). As these visitations build in intensity and bizarreness, another drowning murder -- that of a surgeon's son -- occurs in exactly the same manner, and the evidence this time seems to point so conclusively to Yoshioka that he could be sent away at any moment. But the story is far from over. To say more would ruin the picture, but Kurosawa then springs an endless series of twists and double-crosses that force the audience to reevaluate everything that has come before. ~ Nathan Southern, All Movie Guide

This film, based on the novel by Arthur Golden, unfolds from the perspective of Chiyo (Zhang Ziyi), a girl who, at the age of nine, is sold to a geisha house in Kyoto in the early 1930s. Here, she learns that becoming a geisha can be the single path to wealth and independence for a woman. The head geisha of her house, however, Hatsumomo (Gong Li), is bitterly jealous of Chiyo and abuses her at every opportunity. Eventually Chiyo is taken under the wing of Hatsumomo's rival, Mameha (Michelle Yeoh), by far the most famous and successful geisha in their district. Under Mameha's tutelage, Chiyo becomes Sayuri, the most legendary geisha in the nation, skilled in all areas, from conversation to dance, and sought after by seemingly every man alive...except for the one whom she has secretly longed for since she began her training, The Chairman (Ken Watanabe) -- a man who showed her kindness at a time when her view of the world had turned the most bleak. Now as World War II approaches, Japan stands at the brink of a new era and Sayuri must confront the possibility that history will leave all that she has worked for behind. ~ Cammila Albertson, All Movie Guide

A member of a struggling comedy troupe attempts to get his material past government censors -- and inadvertently ends up getting help from one of their sternest members -- in this period comedy, set in pre-WWII Japan. ~ Michael Hastings, All Movie Guide

Yuka (Hiromi Nagasaku) is an attractive young woman whose brother has recently died under mysterious circumstances. Shortly before his untimely death, Yuka got her first glimpse of his double, who has since moved into their apartment and taken his place. Hayasaki (Koji Yakusho) is a brilliant but mercurial scientist obsessed with perfecting a robot chair for the disabled, with wheels and mechanical arms that are supposed to function according to the "will" of the user. In his single-mindedness, he harangues his underlings and aggravates his employer, who is focused on the bottom line. After a co-worker tells Hayasaki about Yuka's experience, he finds himself being stalked by a doppelganger. At first, he thinks he is doomed, like Yuka's brother, and tries to avoid his double. Eventually, he loses his job, and control of his invention, and the doppelganger steps in to take care of everything. The double trashes Hayasaki's former lab, stealing the robot chair so the scientist can continue his work. The double also hires a young thug, Kimishima (Yusuke Santamaria), to work for them. The double says Kimishima is "just dumb enough not to find us alarming." But Hayasaki's fears come to the fore when the double takes advantage of Yuka's interest in him. And when his former employer, Aoki (Masahiro Toda), now disgraced, comes looking for a piece of the robot-chair action, the scientist finds himself uncertain who to trust. Doppelganger, a dark comedy directed by Kiyoshi Kurosawa (Cure) from a script by Kurosawa and Ken Furusawa, was shown at the 2004 Rotterdam Film Festival. ~ Josh Ralske, All Movie Guide

In 1998, Japanese auteur Shohei Imamura announced his retirement with his wild and wooly war drama Kanzo Sensei. His announcement clearly proved to be premature, as exhibited by this bizarre romantic drama about the power of really good sex, based on a book by Henmi Yo. Koji Yakusho -- who starred in Imamura's Unagi along with virtually every Japanese indie film of note in the late '90s -- is Yosuke, a once successful marketing exec for an architecture film who is now out of work and separated from his wife. One of his few friends is Taro (Kazuo Kitamura), an aging bum living under a blue tarp with his collection of rare books. During one of his drunken rants, Taro tells Yosuke of a golden Buddha he stole from a temple in Kyoto and stashed in a ramshackle house adjacent to a red bridge on the rugged Noto peninsula. After Taro dies, Yosuke ventures to the hinterland to see if he can find the priceless statue, and he finds the house, which is inhabited by a senile confectionery maker (Imamura regular Mitsuko Baisho) and by her vivacious granddaughter Saeko (Misa Shimizu). Yosuke's first indication that Saeko is quite unlike the other girls is when he spies her stealing cheese from a local market. She later tells him that her body is a spring of water that wells up within her. The only means of relief is by doing something naughty -- like shoplifting -- or by engaging in a vigorous round of sex. Soon the two are enthusiastically exchanging fluids, so much so that water blasts from Saeko's nether regions like a fire hose. As the water flows to the nearby creek, fish cluster around to cavort in its special properties. Yosuke decides to stick around, landing a job as a fisherman, not only to service Saeko's special needs, but also to look for the Buddha. This film was screened at the 2001 Cannes Film Festival and at the 2001 Toronto Film Festival. ~ Jonathan Crow, All Movie Guide

The Sixth Sense and A Simple Plan by way of Martin Heidegger, this genre-bending thriller is directed by Kiyoshi Kurosawa. Katsuhiko (Koji Yakusho) is a mild-mannered sound-technician who is married to Junco (Jun Fubuki). While at first glance Junco seems to be an average hausfrau, she possesses great clairvoyant powers. Though she has slowly and quietly built a reputation as a medium, she proves to be completely incapable of working in a normal service industry job; she has the unfortunately tendency of being able to see the crimes of her patrons. Katsuhiko is aware of her unusual abilities but prefers to think of her as "normal." Young psychology graduate student Hayakawa (Teuyoshi Kusanagi) invites Junco to join his study on the paranormal. At the same time, the police are desperately searching for a young girl who was kidnapped by an ex-cop turned pervert. At Hayakawa's behest, the cops consult with Junco as to the child's whereabouts. Ironically enough, the girl escapes her captor and takes refuge in Katsuhiko's equipment case while he records sounds in the mountains. The next day, Junco's psychic sonar goes off and she discovers the missing child in their garage. This freak happenstance awakens a long-dormant ambition in Junco: convinced that her discovery was not a striking enough find, she hatches an ill-conceived scheme to make it seem more dramatic. While Katsuhiko tends to the unconscious girl, Junco scatters clues throughout the western suburbs of Tokyo and then informs the police of her psychic "insights." As the film progresses, their plan goes awry and the child meets a bad end. Junco's abilities boomerang on her, and soon she and Katsuhiko are haunted by the ghost of the girl. Noted stars Yukari Ishida and Show Aikawa make cameos. This film was screened at the 2000 Toronto Film Festival. ~ Jonathan Crow, All Movie Guide

One of the leading voices in the new Japanese cinema, Shinji Aoyama directs this saga about memory, grief, and redemption. Shot in stark black and white, the film opens with the sudden and inexplicably bloody hijacking of a bus in rural Kyushu. The crazed gunman (Riju Go) shoots two passengers in the back as they try to flee. Stepping out of the bus for some fresh air, the hijacker drags bus driver Makoto (played by the ubiquitous Koji Yakusho) along for cover. When the driver faints and falls to the ground, police snipers shoot the terrorist. In his last dying effort, the hijacker stumbles back on board the bus, where he murders an old lady and tries to kill a pair of shocked schoolchildren, Naoki (Masaru Miyazaki) and Kozue (Aoi Miyazaki). Two years later, the experience has wreaked havoc on the lives of the three sole survivors. Distanced and easily distracted, Makoto's weird behavior -- particularly his habit of wandering off unannounced for days at a time -- finally takes its toll on his marriage. Meanwhile, Naoki and Kozue are left mute from the event, though they can communicate. The silent siblings' mother soon walks out of her marriage, and their father kills himself in a car wreck, leaving them alone in a large house with a substantial insurance check. Having found work at a construction company, Makoto's strange behavior starts to raise a few eyebrows, especially when he utterly ignores the advances of a comely office worker. Soon the village is rocked by news of murdered women washing up on a nearby river bank; Makoto's brother suspects him and asks him to leave their family house. He shows up on the doorstep of Naoki and Kozue's house, which has devolved into utter disrepair, and the trio forms a family of sorts. Their relative peace and order is upset by Akihiko (Yohichiroh Saitoh), the bumptious cousin from Tokyo on vacation from college who is insensitive to the trauma that the trio has endured and increasingly suspicious of the kids' ersatz guardian. His disapproval of Makoto grows when that same comely office work turns up dead, and Makoto is the prime suspect. Looking to break out of their routine, and cleared of murder charges, Makoto purchases an old bus and converts it into a camper. Taking his three housemates on an odyssey that begins at the site of the hijacking, they slowly start to reconcile the grief and pain that so destroyed their lives. Unfortunately, the killing seems to follow them along their way. A poignant, emotional journey clocking in at just under four hours, Eureka won the prestigious FIPRESCI Award at the 2000 Cannes Film Festival and was screened at the 2000 Toronto and New York Film Festivals. ~ Jonathan Crow, All Movie Guide

Idiosyncratic auteur Kiyoshi Kurosawa directed this bizarre allegorical tale about a tree named Charisma. Goro Yabuike (Koji Yakusho) is a burned-out hostage negotiator called to rescue an MP from a gun-toting lunatic demanding that "rule of the world" be restored. In a moment of indecision, he fails to act; as a result, both the MP and the lunatic die, while Yabuike is sent on a forced vacation to an unnamed forest area. There he comes upon a single tree surrounded by an I.V. pole, metal supports, and strange altar-like objects. Yabuike soon discovers that the locals are enmeshed in a battle over the tree's future. The plant is staunchly, sometimes violently defended by Kiriyama (Hiroyuki Ikeuchi), a young resident of an abandoned sanitarium who believes that Charisma is unique and should be preserved. On the other hand, Mitsuko (Jun Fubuki), a do-gooder botanist, credits the mysterious tree with poisoning its fellow plants and upsetting the eco-system. Other characters include thuggish lumberjacks and rapacious tree-hunters hoping to buy or steal the rare tree at any cost. As things come to a head, Yabuike is forced to make the sort of decisions of which he was incapable as a hostage negotiator. Is Charisma a force of evil or the victim of the obsessions of those around it? Is it the unique specimen that should be saved or the entire forest? Again Yabuike is flummoxed, but this time he acts before it is too late. This adventurous, psychedelic film explores many of the same themes of the individual's fate in modern society as Kurosawa's early work, Cure (1997). Charisma was screened in the "Directors Fortnight" section of the 1999 Cannes Film Festival and as a part of the director's spotlight at the 1999 Toronto International Film Festival. ~ Jonathan Crow, All Movie Guide

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, All Movie Guide

Veteran director Yoshimitsu Morita spins this romantic melodrama that was originally written by Junichi Watanabe and serialized in the Nihon Keizai Shinbum, Japan's answer to the Wall Street Journal. Kuki (Koji Yakusho) is a former magazine editor wunderkind whose star has dimmed as he slides into middle age. After corporate downsizing, he finds himself in an easily forgotten corner of a corporate conglomerate and, at home, in an increasingly chilly marriage. Rinko (Hitomi Kuroki) is an elegant calligraphy instructor who looks quite fetching in a kimono, and is similarly stuck in a nuptial dead-end. Both find solace in each other's arms, but their respective spouses are getting wise to their affair. Rinko's cheese-loving husband sics a private investigator on her, while Kuki's wife uses more intimate methods of divinating the truth. Given the forces that are pulling them apart, they resolve to take concrete measures that will insure they will be together forever. The film's ending features something rarely seen this side of a Monzaemon Chikamatsu play. ~ Jonathan Crow, All Movie Guide