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matteoB @matteob.bsky.social · 16h

chi ha letto il manga mi dice che sì, specialmente nella seconda parte molta storia è compressa (e per questo può risultare titubante e confuso,)

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matteoB @matteob.bsky.social · 16h

100m! che ne pensi?

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matteoB @matteob.bsky.social · 1d

for sure!

matteoB @matteob.bsky.social · 2d

I just found out that shanghai can be used as a verb... fascinating

Reposted by matteoB

Matt Schley @mattschley.com · 10d

My review of The Last Blossom (ホウセンカ), the new motion picture from the folks behind Odd Taxi.

The Japan Times @japantimes.co.jp · 10d

Yakuza and flowers intertwine in "The Last Blossom," a story of second chances and quiet tenderness. 👉 ebx.sh/u13uaB

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matteoB @matteob.bsky.social · 2d

hi, yes

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matteoB @matteob.bsky.social · 2d

ilmanifesto.it/demom-slayer...

Demon Slayer, quel sottile fascino del manga seriale | il manifesto

(Visioni) Demon Slayer: Kimetsu no yaiba - Il Castello dell’Infinito è senza dubbio il film dell’anno in Giappone, almeno per quel che riguarda i risultati sbalorditivi al botteghino. Attualmente il l...

ilmanifesto.it

Reposted by matteoB

John Bleasdale @www.johnbleasdale.com · 3d

New Writers On Film episode a classic #Hitchcock dissected by Jennifer O’Callaghan REAR WINDOW THE MAKING OF A HITCHCOCK CLASSIC IN HOLLYWOOD’S GOLDEN AGE

podcasts.apple.com/it/podcast/w...

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Reposted by matteoB

Aaron Gerow @dengerow.bsky.social · 4d

My partner appears in the Asahi newspaper, describing the collection of interviews she is putting together of filmmakers attending this year's Yamagata Film Festival.. Please support the crowd funding if you can.

www.asahi.com/articles/AST...

世界各国の監督の声を届けたい　山形映画祭がCFでインタビュー集：朝日新聞

山形市で9日に開幕する山形国際ドキュメンタリー映画祭で、世界各国から訪れる映画監督のインタビュー集を作る資金をクラウドファンディング（CF）で募っている。インタビュー集編集長の小野聖子さんは「様々な…

www.asahi.com

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matteoB @matteob.bsky.social · 4d

Found Footage Films, Compilation Documentary and Recycled Cinema in Japan: a preliminary study
asian-docs.com/2025/04/17/f...

Found Footage Films, Compilation Documentary and Recycled Cinema in Japan: a preliminary study

This is an essay that grew out of two articles I wrote for this site last year. I submitted it for publication, but it was rejected. It is perhaps too vague and unfocused. Hopefully I will return t…

asian-docs.com

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matteoB @matteob.bsky.social · 4d

THE OZU DIARIES (Daniel Raim, 2025)
Scroll down for the English version:
www.sonatine.it/2025/10/07/t...

THE OZU DIARIES (Daniel Raim, 2025) - SONATINE

Un viaggio nella vita e nelle opere di Ozu Yasujirō: dall’infanzia alla morte proprio il giorno del suo sessantesimo compleanno, il 12 dicembre 1963, passando per l’ingresso nell’ambiente cinematograf...

www.sonatine.it

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Reposted by matteoB

matteoB @matteob.bsky.social · 5d

Indigenous with a Capital ‘I’: Indigenous Documentaries from 1994 to 2000 – TIDF 2021
asian-docs.com/2025/10/07/i...

Indigenous with a Capital ‘I’: Indigenous Documentaries from 1994 to 2000 – TIDF 2021

This is a translation and a partial rewriting of a piece I wrote for the Alias (Saturday supplement of the Italian newspaper Il Manifesto) in 2021. In 2003, Māori director and theorist Barry Barcl…

asian-docs.com

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matteoB @matteob.bsky.social · 5d

this is so sad and enraging, and made me think how archival, found footage, and compilation documentaries are virtually non-existent in Japan...probably for the same reason...

Zack Davisson @zackdavisson.com · 5d

On another platform, @debaoki.bsky.social wrote a magnificent rant about how many of these books are killed by Japan's uncompromising image rights restrictions.

Comics are a visual medium. To properly write books discussing comics, you NEED visuals. But for Japanese publishers, the answer is no.

Zack Davisson @zackdavisson.com · 5d

This will go down as the most heartbreaking thing of my career. An absolute Mount Rushmore of manga scholars I was honored to be included with. Everyone included, such as myself and @okazu.yuricon.com did some of the best work of our lives. A brilliant book.

Now dead. Because of image rights.

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matteoB @matteob.bsky.social · 5d

Indigenous with a Capital ‘I’: Indigenous Documentaries from 1994 to 2000 – TIDF 2021
asian-docs.com/2025/10/07/i...

Indigenous with a Capital ‘I’: Indigenous Documentaries from 1994 to 2000 – TIDF 2021

This is a translation and a partial rewriting of a piece I wrote for the Alias (Saturday supplement of the Italian newspaper Il Manifesto) in 2021. In 2003, Māori director and theorist Barry Barcl…

asian-docs.com

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matteoB @matteob.bsky.social · 6d

still from Louis Feuillade's Le Cœur et l'Argent (1912), Suzanne Grandais' grace and beauty is breathtaking

matteoB @matteob.bsky.social · 7d

at Le Giornate del Cinema Muto this year:
Palestine – A Revised Narrative, Lebanese musician Cynthia Zaven edited together parts from 77 newsreels housed at the Imperial War Museum shot in Palestine during WWI including images of Gaza being bombed in 1917
www.giornatedelcinemamuto.it/wp-content/u...

PALESTINE – A REVISED NARRATIVE (LB 2024) mont/ed, mus: Cynthia Zaven. sd. des: Rana Eid. copia/copy: DCP , 29'17"; did./titles: ENG. fonte/source: Imperial War Museums (IWM), London.
Accompagnamento musicale dal vivo / Live musical accompaniment:
Cynthia Zaven, pianoforte; Rana Eid, sound design.

In January 2024, I received a call from Rabih el Khoury in Berlin, inviting me to create a cine-concert to be performed at ALFILM / Arab Film Festival Berlin. The cine-concert would be based on digitized 35mm film clips shot in Palestine during World War I, courtesy of the Imperial War Museums.
I had seen many photographs of Palestine dating back to the late 19th century, but I had never before watched actual film footage from that era, captured throughout the land – from Gaza and Jerusalem to Bethlehem, Nazareth, and Jaffa.
Discovering this material was overwhelming. Although most of it was propaganda for the British Army fighting the Ottomans, some of the scenes of the diverse communities of Muslims, Christians, and Jews and their everyday lives was particularly moving. Especially at a time when those very images of co-existence were being erased, and Gaza eradicated. I wholeheartedly accepted the project. All the more so knowing that my longtime collaborator and friend, Rana Eid, was also invited to create the film’s sound design.
After viewing the 77 clips, varied in content and spanning 4 years (1914-18), I began selecting those that resonated with the project most. One question remained, however: What did it mean to look at the past through images shaped by the colonizer’s gaze?
I started by placing this material within its historical context, and organizing the footage, at least initially, in chronological sequence: General Allenby leading one of the largest armies in the Middle East from Egypt toward Gaza, Tulkarem, and then Jaffa and Jerusalem. And so the editing process began. The

$score that was created for the soundtrack was partly composed before the sound design was finalized, partly afterwards. Editing and music share a fundamental element: rhythm. Rhythm helps unify disparate components of a film into a coherent engaging whole. Sound design can reinforce the rhythm by introducing contrasts and textures that deepen meaning. When Rana added her rich layers of sounds – a composition made from digitized recordings of Nagra tapes she had discovered at her in-laws’ home, originally from Haifa – the second part of the work, the actual cine-concert, became much clearer to me. Rather than serving as a conventional accompaniment for a silent film, my performance would be designed to complement and enter into dialogue with the existing soundscape and image. This blurring of lines between sound design and music, or in this case between sound design and the sounds of my prepared piano, reflects the kind of ambiguity that Rana and I like to explore in our work for cinema in general. Playing directly on the strings and the mechanism itself allowed me to dive beneath the surface, where unpredictability and texture reveal a different kind of sound – and perhaps a different kind of truth. Like Palestine, the prepared piano became less a functioning instrument, and more a landscape: fragile, fractured, yet still alive. If the image was controlled by the colonizer, then sound and music provided the space where we could reclaim the narrative on our own terms. – Cynthia Zaven Palestine – A Revised Narrative, 2024. (Imperial War Museum, London)$

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matteoB @matteob.bsky.social · 7d

from today

matteoB @matteob.bsky.social · Sep 11

A selection of 21 films from this year edition of the Pordenone Silent Film Festival will be available on streaming, October 4-11:
www.mymovies.it/ondemand/gio...

Le giornate del cinema muto 2025 - Enjoy the silence!

In streaming su MYmovies. Scegli il tuo accredito

www.mymovies.it

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Reposted by matteoB

matteoB @matteob.bsky.social · 8d

火の華 Flames of a Flower (Kojima Oudai, 2024)
scroll down for the English review:
www.sonatine.it/2025/10/03/f...

FLAMES OF A FLOWER (Hi no hana, KOJIMA Oudai, 2024) - SONATINE

Osaka Asian Film Festival 2025 Expo Edition di Matteo Boscarol Scroll down for the English version Supportato dall’ottima prova attoriale del protagonista Yamamoto Ikken e da una serie di idee azzecc...

www.sonatine.it

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matteoB @matteob.bsky.social · 8d

火の華 Flames of a Flower (Kojima Oudai, 2024)
scroll down for the English review:
www.sonatine.it/2025/10/03/f...

FLAMES OF A FLOWER (Hi no hana, KOJIMA Oudai, 2024) - SONATINE

Osaka Asian Film Festival 2025 Expo Edition di Matteo Boscarol Scroll down for the English version Supportato dall’ottima prova attoriale del protagonista Yamamoto Ikken e da una serie di idee azzecc...

www.sonatine.it

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matteoB @matteob.bsky.social · 8d

I love Philip Glass, but the soundtrack for Mishima: A Life in Four Chapters is completely out of place and excessive (without mentioning that it's like listening to the Koyaanisqatsi's one)

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matteoB @matteob.bsky.social · 10d

best first watches of Sept (in no order):

Fertile Memory (Khleifi)
Vertigo Sea (Akomfrah)
Suwa (Hiro)
The Diary of a Sky (Abu Hamdan)
The Laughing Woman (Schivazappa)
Jazz Dance (Tilton)
100 M (Iwaisawa)
The Submerged Village (Ōnishi)

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Reposted by matteoB

The Murders in the Brian Ruh Morgue @brianruh.bsky.social · 10d

I will always repost this scene. I’ve shown it in a bunch of classes.

Animation Obsessive @ani-obsessive.bsky.social · 11d

From: Patlabor 2 (1993), dir. Mamoru Oshii, Production I.G

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Reposted by matteoB

William Andrews @william-andrews.bsky.social · 10d

Some background on how the film got "unofficially banned" in Japan: www.indiewire.com/news/general...

‘Mishima’ Was Unofficially Banned in Japan, but the Tokyo Film Festival Wants to Premiere It There This Fall

Paul Schrader on why his masterpiece “Mishima: A Life in Four Chapters" never showed in Japan and shares details of his new film 'Non Compos Mentis.'

www.indiewire.com

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Reposted by matteoB

mulboyne.bsky.social @mulboyne.bsky.social · 10d

"Mishima: A life in Four Chapters", directed by Paul Schrader, will get its first screening in Japan at this year's Tokyo International Film Festival. Schrader plans to attend. That's 40 years after its release, and the 100th anniversary of Mishima's birth. www.yomiuri.co.jp/culture/cine...

映画「MISHIMA」完成から４０年後に日本初上映へ…三島由紀夫生誕１００年の節目に東京国際映画祭で

【読売新聞】　１０月２７日に開幕する第３８回東京国際映画祭で、日本とアメリカの一流スタッフが集結して製作した１９８５年の映画「ＭＩＳＨＩＭＡ」（ポール・シュレイダー監督、原題「Mishima: A life in Four Chap

www.yomiuri.co.jp

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matteoB @matteob.bsky.social · 11d

😀