А я про Итикаву не слыхала.
Ну вот накидала ссылок вразнобой и по разным основаниям (мне бежать пора).
Тайвань
http://www.kinopoisk.ru/level/1/film/103305/ или его же Прибежище дракона
http://www.kinopoisk.ru/level/1/film/84132/ (ну чего ждать о Хоу вы знаете
Китай
http://www.kinopoisk.ru/level/1/film/279603/
http://www.kinopoisk.ru/level/1/film/404107/
и Шоу Жизнь или Девушка Нуань Хо Цзяньци, Цзян Вэнь - ну для пробы Под жарким солнцем,а если сюр - то И солнце взойдет. Конечно же Цзя Чжанкэ - Натюрморт? А Тайваньца Эдварда Янга видели? Он крут. Еще независимое документальное (я это вообще люблю) в материковом Китае далеко небанально.
Япония
http://www.kinopoisk.ru/level/1/film/103347/
Корейское
http://www.kinopoisk.ru/level/1/film/185576/ Моя мама и ее гость
Еще у Шин Сангока видела Jiokhwa (1958), тоже понравилось
Почему Бодхидхарма ушел на Восток
http://www.kinopoisk.ru/level/1/film/394406/
Бутан
Здесь можно порыться насчет азиатских фильмов (три Цзя Чжанкэ с моим переводом там лежит)
Там же есть "Нечестных прошу не беспокоить" Фэн Сяогана (это единственное, что мне у него пришлось по вкусу)
Ну и из последнего Сказка Ветра Йориса Ивенса, хотя и не азиатское
В общем, если вас заинтересуют конкретные названия, то можно мне свистнуть насчет чего я там в них такого нашла.
http://sussandeyhim.com/_content/projects/majoun/turbulent/barlow.pdf
Sussan Deyhim
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. The Bechdel test (named for cartoonist Alison Bechdel) is a means of assessing a movie's treatment of its female characters. In order to pass the test, a movie must have: (1) at least two women in it, (2) who talk to each other, (3) about something other than a man or men.
Callie Khouri: "To me, the ending was symbolic, not literal ... We did everything possible to make sure you didn't see a literal death. That you didn't see the car land, you didn't see a big puff of smoke come up out of the canyon. You were left with the image of them flying. They flew away, out of this world and into the mass unconscious. Women who are completely free from all the shackles that restrain them have no place in this world. The world is not big enough to support them ... I loved that ending and I loved the imagery. After all they went through, I didn't want anybody to be able to touch them."
_________________________
Hm, I actually thought about this, and, if we apply the Bechdel test, then we may end up with some very weird choices for "strong female movies". In fact, the genre that features most female enpowerment would be very unexpected.
That would be anime.
Let's cut relative garbage and try to focus on works largely considered classic. "Evangelion" would be one, since a lot of actual plot and exploration there was built around Atsuka/Eve combination, while Yoshi was largely sidelined. "Totoro" is driven by two female protagonists. "Spirited away" largely revolves around all-female cast (Sen, Yubaba and Rin, with Haku largely sidelined by Sen/Rin dynamics). "Mononoke" actually revolves around a female warrior princess helping an all-female village built, if I remember correctly, by former prostitutes.
And, well, I don't watch all that much anime. By these standars actually stuff like Sailor Moon would pass the test.
Isn't it ironic? The genre that we rarely associate with culture that promotes women tend to have most active women out there. There's little wonder, it seems, that cosplay is an anime phenomenon.
Назовите три штуки, скажем, из азиатских, которые вам действительно нравятся, а я постараюсь продолжить, ну учитывая, что японское и тем более корейское кино знаю пока очень плохо.
Меня зовут Вероника
Regen
My next film started from a far more trivial motive. While on location for Breakers we needed the sun, instead we got rain--those long days of rain that you have in Holland. The idea--let's make a film about the damn rain--came quite naturally.
Although this idea arose almost as a joke, when I returned to Amsterdam I talked it over with Mannus Franken, who sketched an outline. We discussed and revised the outline many times until it became a film for both of us. Unfortunately, Mannus Franken lived in Paris, so the shooting in Amsterdam was done by me alone. Franken however, came to Amsterdam for a short time to assist in the editing.
In making such a film of atmosphere, I found that you couldn't stick to the script and that the script should not get too detailed. In this case, the rain itself dictated its own literature and guided the camera into secret wet paths we had never dreamed of when we outlined the film. It was an unexpectedly difficult subject to tackle. Many artistic problems were actually technical problems and vice versa. Film experience in photographing rain was extremely limited because a normal cameraman stops filming when it begins to rain. When “Rain” was finished and shown in Paris the French critics called it a cine-poem, and its structure is actually more that of a poem than the prose of "The Bridge." Its object is to show the changing face of a city, Amsterdam, during a shower.
The most serious criticism against the film was its lack of "content" In a certain sense this was an exact criticism. I failed to emphasize sufficiently human beings' reactions to rain in a big city. Everything was subordinated to the aesthetic approach. In a way I am glad that I laid a foundation of technical and creative perfection before working on other more important elements. I have since seen too many films so exclusively dependent on content that the available means for film making have been neglected with injury to the content itself.
"Дети райка" в мои списки к просмотру точно входит и даже скачан, но вряд ли в ближайшем будущем до него дело дойдет.
Против временной дистанции и прочих условностей ничего не имею, иногда это хм, вставляет. С Карне у меня пока в в основном эмоциональное несовпадение. "Набережная туманов" смотрится в целом на поверхности по сравнению с "Северным отелем" как более зрелый фильм, но коллизии и интонации - те же юношеские, поэтому вызывает то недоумение, то раздражение.