Midnight Eye

[Midnight Eye @a0dbxza]

unZIP by
核P-MODEL / KAKU P-MODEL #核PMODEL #平沢進 #SusumuHirasawa #electronic #music now available at https://t.co/VXH5FXARjL
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[Tony Stella @studiotstella]

👑

[lulu @stilIwalking]

an actor who made me fall in love with classic japanese cinema
rest in peace tatsuya nakadai 🕊️

[Midnight Eye @a0dbxza]

Los Canallas 1968
Directed by Federico Curiel

Mil Mascaras faces his greatest challenge, as he battles the ruthless gang known as the Infernal Angels. #mexico #LuchaLibre #cinema #film #nw #wrestling #movies

[Midnight Eye @a0dbxza]

Terror of Mechagodzilla 1975 メカゴジラの逆襲
Directed by Ishirō Honda

It has become even more enraged! Mechagodzilla has been resurrected ... #filmsky #movies #japan #cinema #godzilla #nw #ゴジラ

[Midnight Eye @a0dbxza]

Godzilla vs. Mechagodzilla 1974 ゴジラ対メカゴジラ Directed by Jun Fukuda

An Okinawan prophecy that foretells the destruction of the Earth is seeming fulfilled when #Godzilla emerges to return to his destructive roots. #film #movies #japan #cinema #nw #ゴジラ

[Midnight Eye @a0dbxza]

Yojimbo 1961 用心棒
Directed by Akira Kurosawa
#film #japan #cinema #用心棒 #黒澤明 #三船敏郎

[Sassy Ryan @sassy_ryan_]

千葉真一   Sonny Chiba

ファンキーハットの快男児 1961

Vigilante in the Funky Hat

[Midnight Eye @a0dbxza]

Happy Caturday
#caturday #cats

[Midnight Eye @a0dbxza]

Meiko Kaji 梶 芽衣子

[ROBOTO FILMS @Roboto_films]

GOLGO 13 : ASSIGNATION KOWLOON
Edition avec fourreau et poster

Après Ken Takakura, c'est au tour de Sonny Chiba de porter le costume de Duke Togo. Ce dernier apportera une dose d'action et de violence sèche qui manquait dans le précédent film.
https://t.co/Xg0ESE2TSl

[ROBOTO FILMS @Roboto_films]

THEATER OF LIFE 1 & 2

Disponible début novembre

https://t.co/Xg0ESE2TSl

[Midnight Eye @a0dbxza]

Brother 2000
Directed by Takeshi Kitano
A Japanese #Yakuza gangster’s deadly existence in his homeland gets him exiled to Los Angeles, where he is taken in by his little brother and his gang. #film #japan #movies #cinema #nw #北野武

[Midnight Eye @a0dbxza]

Godzilla vs. Hedorah 1971 ゴジラ対ヘドラ
Directed by Yoshimitsu Banno
#filmsky #movies #japanese #cinema #godzilla #nw #ゴジラ

[Sassy Ryan @sassy_ryan_]

千葉真一   Sonny Chiba

日本の仁義   Gambler's Code of Japan  1977

[Midnight Eye @a0dbxza]

Mononoke the Movie: Chapter II - The Ashes of Rage 2025 劇場版モノノ怪 第二章 火鼠
Directed by Kenji Nakamura, Kiyotaka

The Medicine Seller returns as the Edo harem faces a new crisis, with family feuds, inner turmoil and fiery envy igniting the birth of a raging spirit #anime

[Midnight Eye @a0dbxza]

Etsuko Shihomi 志穂美悦子
Sister Street Fighter and how to use the Nunchaku 🧨💥👍 #film #japanese #movies #nunchaku #martialarts

[Midnight Eye @a0dbxza]

Sister Street Fighter 1974 女必殺拳
Directed by Kazuhiko Yamaguchi
#filmsky #japanese #movies #女必殺拳 #志穂美悦子 #千葉真一

[Ben4MVP @S4Mvp]

Toshirō Mifune 三船 敏郎

[RadiantFilm @RadiantFilm]

Today marks the 70th anniversary of Pather Panchali (1955). Here are Satyajit Ray insights on adapting Bibhutibhushan Bandyopadhyay’s novel for the screen:

"I chose Pather Panchali for the qualities that made it a great book: its humanism, its lyricism, and its ring of truth, I knew I would have to do a lot of pruning and reshaping—I certainly could not go beyond the first half, which ended with the family’s departure for Banaras—but at the same time I felt that to cast the thing into a mould of cut-and-dried narrative would be wrong. The script had to retain some of the rambling quality of the novel because that in itself contained a clue to the feel of authenticity: life in a poor Bengali village does ramble.
Considerations of form, rhythm or movement did not worry me much at this stage. I had my nucleus: the family, consisting of husband and wife, the two children, and the old aunt. The characters had been so conceived by the author that there was a constant and subtle interplay between them. I had my time span of one year. I had my contrasts—pictorial as well as emotional: the rich and the poor, the laughter and the tears, the beauty of the countryside and the grimness of poverty existing in it. Finally, I had the two natural halves of the story culminating in two poignant deaths. What more could a scenarist want? What I lacked was firsthand acquaintance with the milieu of the story. I could, of course, draw upon the book itself, which was a kind of encyclopaedia of Bengali rural life, but I knew that this was not enough. In any case, one had only to drive six miles out of the city to get to the heart of the authentic village.
While far from being an adventure in the physical sense, these explorations into the village nevertheless opened up a new and fascinating world. To one born and bred in the city, it had a new flavour, a new texture: you wanted to observe and probe, to catch the revealing details, the telling gestures, the particular turns of speech. You wanted to fathom the mysteries of ‘atmosphere’. Does it consist in the sights, or in the sounds? How to catch the subtle difference between dawn and dusk, or convey the grey humid stillness that precedes the first monsoon shower? Is sunlight in spring the same as sunlight in autumn?..."

— Our Films, Their Films by Satyajit Ray, published in 1976