Different cultures have different thresholds of assimilation resistance, which depends on many historical, social and other factors. In this sense, Japanese culture can be regarded as a particularly stable entity that has preserved its autonomy with a very high level of foreign borrowing. And at the same time, modern Japan is a kind of combination of pop culture - "manga", "anime", rock, etc. - and traditional culture with such indispensable components as the tea ceremony, calligraphy, and Aikido... And this kind of confrontation, the duality of the life of a modern Japanese person, is also recorded in the cinema.

Japan has always been presented as the promised land for many artists, and these hobbies with the exoticism of Japan almost always had some kind of undulating character: they subsided for a while, then appeared with a vengeance. The current wave of the Japanese cultural boom, which began in the United States and Western Europe in the 80s of the last century and with a noticeable delay, and therefore recently hit Russia with particular force, is already a global phenomenon, and what is especially surprising, it turned out to be very long and viable. Naturally, this wave brought with it an unprecedented interest in both modern Japanese cinema and the production of Western cinematographers on Japanese themes.

JAPAN-THROUGH THE EYES WESTERN FILMMAKERS

It would seem that the world has already paid its tribute to Japanese history, traditions and customs, embodied in the multi-part epic "Shogun", large-scale and colorfully recreated by European cinematographers and has already been shown several times on Russian TV screens. But this was only the beginning of another cinematic "Japonomania". We are convinced of this by the recently released American film Memoirs of a Geisha (2005; awarded the Academy Award in three categories, 2006), based on the novel of the same name by A. Golden, which is quite well-known in the West.

The film tells about the fascinating life story of one of the most famous owners of this ancient profession in Japan - Saeri Nitta. A girl from a poor family is sent to serve in a geisha house. Over the years, Saeri learns all the mysteries of life and mastery of this art. The most powerful men become her captives, but only one of them is not under her spell. It is to him that she gives her heart. Apparently, it would be possible to make an announcement of this film. But the point is not even in its content. And the fact is that this rather trivial, old as life and already caused literally a set of teeth on edge plot once again attracted quite bright cinematic forces-far from newcomers to the field of cinema.

"Memoirs of a Geisha" is one of the last, but far from the first, cases of the Japanese "film epidemic". It is enough to refer to the recently released films on our screens. Among them is the American film "The Last Samurai", another version of the American interpretation of the so popular image of the samurai in recent years. It was embodied on the screen by the famous Tom Cruise.

The hero of the film is a captain of the American army, in search of a way out of the psychological impasse in which he found himself in connection with participation in the civil war and the ruthless extermination of the Indian population during it, by the will of fate, ends up in Yokohama in 1876. However, in Japan, new ones are waiting for him

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trials. The country is going through a period of radical reform-modernization according to Western models, which also affected the Japanese army. Naturally, the experience of an American soldier here, as nowhere else, is in demand, but as a result of a lost operation involving poorly trained Japanese soldiers, he is captured by representatives of a traditional samurai clan who have rebelled against all kinds of innovations.

Their leader, Katsumoto, is quite fluent in English, and it is this fact that turns out to be a salvation for the American captain, whom the samurai brings to his village under the pretext of practicing English. Here, dramatic changes take place with the hero. He philosophizes a lot under the shade of cherry blossoms, stops drinking, gets rid of the post-war nightmares that tormented him, begins to speak Japanese, etc. As a result, the American goes over to the side of the rebellious samurai with whom he was going to fight, and thus redeems his guilt and saves his soul.

Director Zwick clearly aims to emulate the world-famous Akira Kurosawa, especially in his portrayal of battle scenes. However, for all its colorfulness, the film remains at the level of a superficial tourist's view of the incomprehensible Japanese culture for an American. The strength of "The Last Samurai" is, of course, not psychology, but battle scenes.

This picture is somewhat akin to Quentin Tarantino's acclaimed thriller "Kill Bill", in which there are more samurai swords than pistols, more fights than dialogues, more actions than feelings, and more Japan than America. In the picture, everything is surprisingly mixed: both the image and music of different styles and different times. The panorama of samurai swords is suddenly accompanied by James Last's" Lone Shepherd "or a samurai duel takes place under flamenco, and the Japanese "anime" - against the background of music from an Italian action movie.

Almost the same multicultural cocktail as Quentin Tarantino was prepared by the Frenchman Alain Corneau, the director of another popular film on the Japanese theme - "Fear and Awe". However, unlike the famous American, who does not see the problem of cultural interaction, the authors of the Franco-Japanese film preach the idea of an aesthetic attitude to Japan. "Fear and Awe" follows the adventures of Belgian Amelie, a fan of Zen and ancient Japanese traditions, who is hired under a contract in the Japanese corporation "Yumimoto", trying at all costs to fit into the local society, not assuming that the traditional hierarchy continues to be preserved in modern Japanese life. A service duel unfolds between Amelie and her boss - a luxurious Japanese Mori. But the main character passed all the tests and, having worked honestly, returned to her homeland, where she wrote her first book.

This is one of the most politically incorrect French comedies, which generally like to bring out the Japanese in a caricatured light. However, the director of the film, Alain Corneau, especially insists that his picture tells not about the Japanese, but about the French, giving them the opportunity to see themselves in a crooked mirror. That is why "Fear and Awe"is well received in cosmopolitan festival audiences, including in Japan, but it was not released in Japan.

Another recently released French film set in Japan is the action comedy Wasabi, directed by Gerard Krawczyk. Perhaps the most important and distinctive feature of this film is the participation of the famous Jean Renault in the main role of police officer Hubert Fiorentini. Otherwise, the main director's bet is made exclusively on a purely Japanese flavor and Japanese realities.

The American melodrama "Translation Difficulties", created by the daughter of the famous director Sofia Coppola and awarded the Academy Award in 2003, tells about completely different problems, but also in the context of Japanese reality. The film is set in Tokyo. But Tokyo is just a backdrop for the meeting of two lonelies. Bob, an aging middle-class actor, came to Japan to promote Japanese whiskey and met Charlotte, the wife of a famous photographer, who is worried about waiting for her husband, who is constantly busy on the set. This is a thoughtful and lyrical sketch on the theme "love mood".

The film's credits include a joint production between the United States and Japan, but this does not exclude the fact that the film contains a rather subtle ironic look at Japan through the eyes of a foreigner. However, the main content of the picture is not limited only to mild irony over the Japanese. From an ethnographic point of view, it is difficult to find an equivalent film. This is the credit of Sofia Coppola, who spent long hours wandering around Tokyo before filming, shooting everything in a row, and then analyzing her pictures for a long time.

And this is not all that is created by Western cinematographers.-

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fistami in recent years about Japan. The Hollywood film factory seems to have recently become addicted to creating not only its own films about Japan, but also English-language remakes of Japanese films.

FILM PRODUCTION "N 1" - FOR FANS OF THRILLS

One of the first American filmmakers attracted the Japanese thriller "Call", shot in 1995 by a little-known at that time Japanese director Ichize Takashige. This film was almost never released in wide distribution in Japan and was distributed mainly on videotapes. However, it only benefited from this, since its plot is based on the story of how after watching a rented tape a week later, a person died under unexplained circumstances. Naturally, after watching the film, many people counted down seven days in fear.

A dark room. There's a TV set against the wall. The screen flashes white bars and strange sounds are heard. And suddenly an image appears. Pit. A girl with long black hair climbs out of it, coming closer and closer, and with her arms outstretched, climbs over the TV and into the room. For a moment, her hair reveals her face, which is blue and swollen, and you can't help but shudder when you look at it...

This tape shocked everyone with a real feeling of chilling fear. And this fear was not caused by fanged monsters, not rivers of blood. This fear is in our heads, in our thoughts, but we don't know about it, and after watching this film, we feel especially helpless and unprotected.

After a while," Call "has already turned into a kind of trademark - this story was retold even by the creators of the famous Japanese manga comics. In 1998, the famous Japanese director Hideo Nakata created his own cult film with the same name based on the best-selling cycle of the same name by writer Koji Suzuki "Call". This film won the Grand Prix of the Fantastic Film Festival in Brussels in 1999 and in turn spawned a whole series of sequels for both film distribution and television.

In the wake of the success of this film adaptation, director Yoshi Aida makes the film "Spiral", turning the plot into a demonstration of the wonders of bacteriological effects. A year later, "Call-2" directed by Hideo Nakata is released in Japan. And almost at the same time, two TV series are being released - "Call" (12 episodes) and " Spiral "(13 episodes). A year later, the prehistory of this series appears on the screens - the prequel "Call-0" ("Call: Birthday") directed by Norio Tsuruta.

Thus, "The Bell" became the most popular horror film in Japanese history and even the founder of a special genre. And Sadako dolls (ghost children) have become as iconic attributes for the East as Freddy Krueger's gloves are for the West.

In South Korea, "The Call" inspired director Ahn Tiun Ki in 2002 to make not a remake, but an independent film "Contagious Call", where not a videotape, but a cell phone becomes the cause of all the same fatal events. A year later, this tape was shown with great success in Japan. And the Kadokawa-Daiei film company offered the infamous Japanese director Takashi Miike to make his own film, where the plot now focuses not on a videotape, but on a deadly message on a mobile phone.

"One missed call"

Takashi Miike, created by the strongest team of cinematographers, has become the pinnacle of Japanese horror films. A call rings on your mobile phone. Its owner does not have time to pick up the phone and receives a strange message via voice mail. The message is dated to the next day, and the voice, very similar to the voice of the owner of the mobile phone, says incomprehensible words. These words will be the last in the life of the person who missed the call. A girl named Yumi tries to find out the cause of the mysterious deaths, but soon she herself receives an ominous message.

The Americans also quickly joined in the development of this story. And already in 2002, a Hollywood remake was released, directed by Gore Verbinski-the creator of "Pirates of the Caribbean", "Mouse Hunt" and "Mexican", and the main role was played by the star of "Mulholland Drive" - Naomi Watte.

Critics point out that Japanese horror films are much scarier than American ones, and explain this, first of all, by the lack of special effects, so beloved in Hollywood. In a Japanese thriller, you will hardly see fountains of blood and crowds of the walking dead. Deadly danger lies in wait for people where it seems that nothing can happen: at work, in the elevator, in your own shower. Often there is no ominous music, foreshadowing a terrible scene. And most importantly, the killer is not a scoundrel armed with a gun or a kitchen knife, but a woman or a child.

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Japanese filmmakers successfully draw inspiration for their dark stories from folk tales and ancient legends "Kaidan". However, unlike the ancient stories in modern Japanese horror films, computers and other diverse equipment that have become an integral part of any person's life become killers.

The Weinstein brothers couldn't resist the fashion for Japanese thrillers, either, as they began reworking the 2001 Japanese film Impulse. The film tells about teenagers who become victims of supernatural forces from a sinister website. Harvey Weinstein compares the future picture with the "Bell" and expects that it will not be limited to one tape.

Following the" Bell", the choice of Americans fell on the Japanese "horror film", which gained great popularity in the homeland of its creators. Famous producer of" dream factory " Sam Raimi, famous for the film "Spider-Man", immediately noticed the latest work of 32-year-old Japanese director Takashi Shimizu "Curse". This is still only his third film. However, American professionals saw in the aspiring Japanese director a rare talent in creating exciting films and set out to adapt "The Curse" for the Western audience.

Shimizu's star rose in the Japanese film world thanks to the films "The Curse" and"The Curse-2". The beginning for the development of a strange story is an ominous discovery of the main characters. They find a house with a curse hanging over it. And then - all according to the usual scenario for the Japanese-pumping up special psychological tension in anticipation of fear.

Wondering whether the film can retain its style and features of Japanese cinema when creating a Hollywood version with American actors - Sarah Michelle Gellar (the TV series "Buffy"), Bill Pullman ("Independence Day") and others, Takashi Shimizu, as a result of artistic experiments, releases in 2004 the American version of" The Curse "- the film"Malice."

Japanese horror films today are the most popular product, the "No. 1" product for delivering thrills in the global cinema market. They are no less popular in their homeland. After the resounding success of the films "Call" and "Call-2", which marked the beginning of a whole series of "by-products" - from a television series to prose, director Hideo Nakata decided to consolidate his achievements in this field and made another mystical thriller "Dark Waters" - a film about the destructive power of the modern world, about the fine line between the norm and the madness. The Japanese director brings the art of "scaring" to the absolute - almost nothing happens in the frame, but the audience is ready to scream with horror.

In the XXI century, the cinematic baton in the genre of horror films quite deservedly passed to the Japanese. Having made a powerful breakthrough on international screens in recent years, the Japanese do not stop in search of ways of artistic self-affirmation.

ЯПОНСКОЕ КИНО В ЯПОНИИ

У себя на родине японское кино сегодня отчаянно продолжает бороться за своего зрителя, стараясь отвоевать культурное пространство у явно потеснившей его в последние годы японской анимации и взять реванш в конкуренции с телевидением. И это уже принесло определенные результаты. Недолгий кризис, наступивший в японском кино после смерти авторов и идеологов первой "азиатской волны" - Тэйносукэ Кинугуса, Акиры Куросава, Тосиро Мифунэ - благополучно миновал. И современное кино Японии, соединив в себе технологичность Запада и тонкость Востока, продолжает оставаться одним из величайших "архипелагов" в океане мирового кинематографа.

Япония познакомилась с кинематографом почти одновременно с Европой и Америкой. Киноаппараты Эдисона и братьев Люмьер появились здесь в 1906 г., а первые видовые, а затем игровые японские фильмы вышли на экран через три года, хотя в анналах истории японского кино записано, что первым фильмом, выпущенным в Японии, стала документальная короткометражка "Танец гейши" (1899).

Тем не менее, долгие годы сами японцы не считали кино серьезным искусством, сопоставимым с театром или живописью. Кино было прежде всего развлечением для народа и рассчитано исключительно на национальный менталитет японского зрителя. Воспитанные на образцах классического японского театра, литературы и изобразительного искусства, режиссеры и актеры оказались во власти веками культивировавшихся в обществе средневековых художественных канонов.

Большинство созданных в эти годы японских фильмов представляли собой не что иное, как киноверсии популярных сюжетов из классического репертуара традиционного театра Кабуки - "дзидайгэки" (исторической драмы), а их герои повторяли типаж главного мужского персонажа этого жанра - "татэяку". Этот типаж воплощал в себе феодальную мораль самурайского сословия и восхвалял такие его черты, как сила и благородство, верность и преданность своему сюзерену, но в то же время всегда отличался определенной примитивностью. При этом важно отметить одно существенное отличие японского театра от европейского: сцены очень продолжительные, неторопливые, актеры достигают высокой степени свободы, зритель настраивается на продолжительное внимательное созерцание. Ранние японские фильмы были столь же продолжительными и медлительными, как и национальное театральное действо. Однако до сих пор японские немые фильмы удивляют естественностью поведения актеров на экране.

В этих фильмах уже с самого начала было заложено непреодолимое противоречие между нарождающейся новой современной формой киноискусства и отжившим свой век содержанием, взятым из феодальных времен и потому казавшимся неактуальным.

Более отвечающим потребностям времени выглядел второй театральный жанр, "гэндайгэки", фильмы на современную тематику с использованием элементов зарубежной кинематографии. Однако недостаточный профессионализм и отсутствие художественной практики актеров и режиссеров делали большинство этих кинолент наивными сентиментальными историями, рас-

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read out to the most unassuming viewers ¹.

Once, in 1929, the famous S. Eisenstein wrote in his work "Behind the Scenes" that in Japan there are films, film companies, movie stars, capital invested in film production, but there is no cinematography itself. This is all the more surprising, Eisenstein noted, because the Land of the Rising Sun has an infinite number of cinematic features in its culture, scattered everywhere, with the exception of only cinema ². The Russian master considered editing, i.e. semantic construction and combination of frames, to be the basis of cinema. In Japanese painting, poetry, Kabuki theater, and even in the hieroglyphic writing system, he saw the editing principle, and he was genuinely surprised that Japanese cinema did not master various visual editing techniques.

One of the few Japanese directors of that time who discovered new visual possibilities of cinema, who were not afraid to experiment and developed an original creative style, who treated cinema as an art, was Tainosuke Kinugusa (Kogame's real name). His film "Mad Page" (1926), depicting visions of a mentally ill person, is similar in style to the German impressionism of the 1920s, and "Crossroads" (1928) is a melodrama in the spirit of Murnau. In addition to the influence of German impressionism, Kinugusa was also able to perceive the works of the Soviet installation school of the 1920s (Sergei Eisenstein, Dziga Vetrov, Lev Kuleshov). World fame came to the director only in 1954, when on the wave of interest in Japanese cinema, his film "Gates of Hell" won the main prize of the Cannes International Film Festival and the Academy Award "Oscar" of the American Film Academy.

The real boom of Japanese cinema began in the 1950s: Japan became the world's leading producer of films. The country produces more films than Hollywood. In 1958, 504 films were released, and the number of viewers was almost 1.2 billion. ³

It was during these years that cinema in Japan became a major business enterprise, a "dream factory", and many dissatisfied people began to dream about what they saw on the screen and dream of fulfilling their hopes. Screenwriters and directors did not set themselves the task of teaching people to move forward, to take active steps to solve the problems they face. They set out to give them a dream that is extremely attractive compared to reality, so that the audience will return to the cinemas again and again with the desire to dream for a few more hours. This formula of happiness found in the cinema, which makes a lot of money, turned out to be quite strong and soon spread to other types of mass art.

And at the same time, this rapidly developing film industry gave rise to a remarkable galaxy of directors in those years, who created talented original works that made up the golden fund of Japanese and world cinema. Japanese screens were flooded with a whole stream of films, original in style and genre, such as" Tokyo Story "directed by Yasujiro Ozu," Ugetsu-monoga-tari " ("Moon in the mist") Kenji Mizoguchi," Floating Cloud " Mikio Naruse and others.

However, the worldwide triumph of Japanese cinema, which began in the 1950s, is associated primarily with the name of Akira Kurosawa. It was Kurosawa who for many years represented Japanese cinema in the West, and in general the entire post-war Japanese culture.

His film "Rasemon", having received the highest award of the International Venice Festival - the Golden Lion of St. Mark in 1951, and then in 1952 - the most prestigious award of the American Film Academy - "Oscar", for the first time widely opened the world of original Japanese cinema.

"Rasemon" made a huge impression in the world, but was perceived differently. For Soviet viewers who prefer to-

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знакомились с фильмом с опозданием почти на десять лет, он казался новым веянием западного искусства, но пришедшим с Востока. Совершенно иначе к нему отнеслись в Америке, где в то время мало знали о существовании японского кино: он был воспринят как новое открытие Японии.

По существу, "Расёмон" являл собой своеобразный синтез исторической и современной драмы. Эта лента оригинальна в первую очередь своим многофокусным сюжетом, повествующим об одних и тех же событиях, увиденных глазами разных героев. На фоне экзотической старины и героев давно прошедших лет зритель наблюдает, по сути дела, сложную психологическую картину мира современных людей с их вечными духовными и нравственными проблемами, с постоянным поиском истины и склонностью человеческой натуры к компромиссам. Фильм был сделан с использованием сугубо западного динамичного монтажа, быстрого движения камеры и т.д.

Другие фильмы Куросава -"Семь самураев" (1954 - Серебряный лев Св. Марка, Венеция; 1955 - "Оскар") и "Телохранитель", созданные в жанре самурайского боевика - "тямбара-эйга", поразили Голливуд. А появившиеся позже в международном прокате остро реалистические полотна - "Пьяный ангел" (1948), "Жить" (1952 г. - Серебряный медведь, Берлин), "Красная борода" (1965; 1968 - специальный приз Международного Московского кинофестиваля) и многие другие - продолжили триумфальное шествие японского кино по мировым экранам.

В самой же Японии далеко не сразу согласились со славой Куросава, пришедшей с Запада. Его обвиняли в игнорировании национальных традиций, упрекали в западничестве, космополитизме. Слишком сложными, непривычными, радикально новаторскими оказались для массового восприятия японцев его картины-повествования с высоким гражданским пафосом и непривычным современным художественным решением.

Однако именно успех и популярность Куросава на Западе заставили европейских и американских зрителей и кинокритиков пересмотреть свое отношение к японскому кинематографу, внимательнее отнестись к фильмам других режиссеров из этой страны.

Еще один режиссер, получивший мировое признание в 1950-х гг., Кэндзи Мидзогути, к тому времени был уже возведен в Японии в ранг классика кинематографа. В своем творчестве он опирался на изобразительную традицию японской живописи и театра и прославился еще в 1920 - 1930-х гг. фильмами в жанре "дзёсэй эйга" - истории о верности и самопожертвовании женщин.

Если Куросава центральной фигурой своих фильмов сделал мужчину - воина, самурая, борца, старика, врача, чиновника, то для Мидзогути главный герой - женщина. Женская тема стала основной в творчестве режиссера. Он часто совмещал мифологические сюжеты с историями из повседневной жизни, используя в фильме сновидения и фантазии. Достаточно назвать его прославленную ленту "Угэцу моногатари".

Куросава и Мидзогути использовали совершенно разные изобразительные манеры. Динамизму действия, монтажа, эффектным ракурсам Куросавы у Мидзогути противопоставлены долгие неподвижные планы, вызывающие в памяти зрителя старинные японские гравюры, которые заставляют всматриваться в мельчайшие детали изображения. Поэтому столь значимым для Мидзогути оказался второй план, часто заключающий в себе

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the main meaning of the story, because the plots of his films themselves, are well known: they are based on ancient legends. The director followed the rule: one scene - one long shot. Instead of editing, Mizoguchi used complex camera movements within the frame, and in some films (for example, in The Tale of the Late Chrysanthemum, 1938), exquisite slow panning created a special effect of authenticity.

In the West, it was only in the 1950s that they were able to appreciate the impact of a long fixed plan-after all, cinema developed there primarily as the art of editing. But already in the 1960s, the Italian film theorist, director and screenwriter Pier Paolo Pasolini named Mizoguchi as one of his teachers, who opened for him the poetic dimension of reality itself.

Even more late than Mizoguchi, Yasujiro Ozu, who is often called "the most Japanese of Japanese directors", "the god of cinema", came to world recognition. His films are very simple in plot and means of expression. It can be said that Ozu spent his entire life shooting the same story about a modern Japanese family, in the genre of "semingeki" (everyday realism).

The director never turned to the historical past, did not use the aesthetics of painting or theater, did not embellish reality. The action in his films is kept to a minimum. This allowed Ozu to achieve such an effect that what was happening on the screen became significant for every viewer. Despite the fact that the action takes place in a Japanese family, in a Japanese city (almost always in Tokyo), the national specifics are insignificant. What Ozu tells us is equally important for the European, the Asian, and the American.

However, why is Ozu considered the "most Japanese" director? Probably because he adhered to one of the canons of classical Japanese aesthetics in his work, according to which beauty cannot be comprehended in visible and audible images. On the contrary, what a person sees and hears is deceptive, distancing him from the beauty, from the essence of the universe.

Although Ozu constantly felt that entertainment films copying American techniques and cliches were becoming increasingly popular, he calmly continued to advocate the pursuit of simple and rigorous solutions leading to enlightened contemplation.

This attraction to a slow, detailed and emotional manner of screen narration - a kind of film meditation - persists in the work of a new generation of Japanese directors, who otherwise went far enough from the classics of Japanese cinema and made their breakthrough on the world stage.

This trend was defined in 1997, when the Western world recognized that the cinematography of the Land of the Rising Sun does not end with the old victories of Akira Kurosawa and Nagisa Oshima. It was this year that the great Shohei Imamura won his second Golden Bough at the Cannes Film Festival after "The Legend of Narayama" with "Eel", and the debutant Naoomi Kawase - "Golden Camera" with "Suzaku". In the same year, Takeshi Kitano's film "Fireworks" won the Golden Lion at the Venice Film Festival. But even after that, modern Japanese cinema remained for some time only for connoisseurs, and the paintings of such masters as Ozu and Mizoguchi could only be seen at festivals or in film clubs, where they constantly aroused the interest of cinephiles.

The real triumph of Japanese directing in the European film space took place at the Cannes Film Festival in 2004, which included 10 works in its programs - from the laurel-crowned Imamura to young authors Shinji Aoyama, Masahiro Kobayashi, Kiyoshi Kurosawa and others.

Russian audiences who are already familiar with the films of Kurosawa and Imamura and with the works of the most popular Japanese writers Mishima and Murakami, are also caught up in a genuine interest in Japanese cinema today.

Since 1960, it is simply impossible to imagine the Moscow autumn without the annual Japanese film festival, which has already become a tradition. Only in recent years, the festival has been able to show contemporary Japanese classics that have never been shown on the Moscow screen before: Takeshi Kitano's "Sonatina", Shohei Imamura's "Eel", Jun Ichikawa's "Tokyo Story", films from the endless series about school ghosts and more traditional mystical stories in the genre of "Kaidan", gloomy metaphysical stories, etc. Kiyoshi Kurosawa's thrillers and Hideo Nakata's chilling "Call", Mamuro Hoshii's animated masterpieces "Ghosts in the Shell "and the third, undoubtedly the best and most talented of the series of adventures of the radioactive flying turtle Gamera from outer space"Galera 3: Revenge of Iris".

Recently, the concept of the film festival has changed somewhat. There are practically no controversial, shocking or simply fashionable films left in the program. The bet is made on films that may not be the latest news, but represent a strong mainstream, suitable for family viewing.

(The ending follows)

¹ For more information, see: Sato Tadao. Kino Yapanii [Cinema of Japan], Moscow, 1988, pp. 8-18.

² htpp://scit.boom.ru/music/kino/rardiograma3.htm

³ Ibid.

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