The TV anime series Bleach is adapted by Studio Pierrot, based on Tite Kubo's popular manga which follows the story of Ichigo Kurosaki For as long as he can remember, Ichigo has been able to see ghosts But when he meets Rukia, a Soul Reaper who battles evil spirits known as Hollows, he finds his life is changed forever Now, with a newfound wealth of spiritual energy, Ichigo discovers his true calling to protect the living and the dead from evil And when he vows to defend Rukia from the ruthless justice of the Soul Society, he and his friends must cross over and do battle in the spirit world

A preview for episode 318 of Bleach, which will begin simulcasting on Crunchyroll this April 19. This long-running TV anime series is adapted by Studio Pierrot, based on Tite Kubo's popular manga which follows the story of Ichigo Kurosaki. For (...)

A preview for episode 317 of Bleach, which will mark the start of a new story arc, when it begins simulcasting on Crunchyroll this April 12. This long-running TV anime series is adapted by Studio Pierrot, based on Tite Kubo's popular manga (...)

A trailer for this month's anime film Onigamiden, premiering in Japan on April 29. The movie is adapted by Studio Pierrot, based on a two-volume novel authored by Takafumi Takada. This historical-themed feature revolves around the war between (...)

A second, bit longer trailer for this month's anime film Onigamiden, premiering in Japan on April 29. The movie is adapted by Studio Pierrot, based on a two-volume novel authored by Takafumi Takada. This historical-themed feature revolves (...)

The TV anime series Naruto Shippuuden is the second chapter in the anime franchise, continuing the original Naruto TV anime two and a half years later The series is once again adapted by Studio Pierrot, based on Part II of Masashi Kishimoto's original manga As the anime's story begins, Naruto returns to find that everyone's been promoted up the ninja ranks - except him Sakura's a medic ninja, Gaara's advanced to Kazekage, and Kakashi well, he's the same But pride isn't becoming of a ninja, especially when Naruto realizes that Sasuke never returned from his search for Orochimaru Plus, the mysterious Akatsuki organization is still an ever-present danger As Naruto finds out more about the Akatsuki's goals, he realizes that nothing in his universe is as it seems Naruto is finding that he's older, but will he prove wiser or stronger

The TV anime series Bleach is adapted by Studio Pierrot, based on Tite Kubo's popular manga which follows the story of Ichigo Kurosaki For as long as he can remember, Ichigo has been able to see ghosts But when he meets Rukia, a Soul Reaper who battles evil spirits known as Hollows, he finds his life is changed forever Now, with a newfound wealth of spiritual energy, Ichigo discovers his true calling to protect the living and the dead from evil And when he vows to defend Rukia from the ruthless justice of the Soul Society, he and his friends must cross over and do battle in the spirit world

Promo de la futura Nippon Radio...Presentado desde Studio Pierrot.

Animate.tv reports that Studio Pierrot and David Production will co-produce an anime adaptation of Yoshihiro Togashi’s 1995 sci-fi comedy manga series Level E. The manga revolves around a young man whose roommate is a snobbish prince from an alien planet. Yoshihiro Togashi is best known as the creator of Yu Yu Hakusho and Hunter x [...]

Tegami Bachi REVERSE ep 01 S2 sub eng 720p 480p
Aired: Oct 3, 2010





Alternative Titles

English: Letter Bee
Synonyms: Tegamibachi, Tegami Bachi 2
Japanese: テガミバチ REVERSE
Information

Type: TV
Episodes: Unknown
Status: Not yet aired
Aired: Oct 3, 2010 to ?
Producers: Studio Pierrot
Genres: Adventure, Fantasy, Supernatural
Duration: 20 min. per episode
Rating: PG-13 - Teens 13 or older


LINK DOWNLOAD


EP 1

720p HD

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A preview for episode 290 of Bleach, which will begin simulcasting on Crunchyroll this September 28. This long-running TV anime series is adapted by Studio Pierrot, based on Tite Kubo's popular manga which follows the story of Ichigo Kurosaki. (...)

A preview for episode 289 of Bleach, which will begin simulcasting on Crunchyroll this September 21. This long-running TV anime series is adapted by Studio Pierrot, based on Tite Kubo's popular manga which follows the story of Ichigo Kurosaki. (...)

A preview for episode 287 of Bleach, which will begin simulcasting on Crunchyroll this September 7. This long-running TV anime series is adapted by Studio Pierrot, based on Tite Kubo's popular manga which follows the story of Ichigo Kurosaki. (...)

Anime News Network has added an exclusive video tour of the Studio Pierrot (Naruto, Bleach) production office.

Copyright Studio Pierrot, TV Tokyo & Geneon. Used only for the purposes of commentary, criticism and review under fair use. (Originally released on December 2009) Karto, Halohunter head to the underground, which looks nothing like it did in the book.

Title: Bad Pick Up Lines Shu tells bad pick up lines. Blue Dragon is owned by Viz Media, Studio Pierrot, Shueisha, and Cartoon Network. Support the official release.

We all have film sequences that stick in our minds. Some are shared by many – such as the shower scene from Psycho – others are particular to us. Here our film critic and a panel of leading movie-makers reveal their favourites. What are yours?

Who will ever forget the first time they saw the 45-second shower-room murder in Hitchcock's Psycho? I remember 1959 and 1961 as the years when my first two children were born. But the first thing that comes to mind about the year in between was seeing Psycho, which I'd been looking forward to since a radio programme I'd produced the previous October, when Hitchcock had enticingly described Psycho as "my first real horror film". Entering the Plaza, Lower Regent Street, the day the film opened, I passed the cardboard cut-out of Hitchcock in the foyer, from which a tape recording of the Master's familiar Leytonstone undertaker's voice warned us what would happen if we gave away the ending.

Half an hour into the movie, when Janet Leigh stared out at us from the floor, a man sitting in front of me staggered into the aisle and vomited: testimony to the sensitive stomachs of the time, or (as several other people I know witnessed a similar incident at the Plaza that week) evidence that Paramount's publicity department had hired a method actor for the film's opening run?

Such indelibly iconic moments have been part of moviegoing since the Lumière brothers' first public screening of a dozen short scenes in December 1895. One of them had the audience recoiling from a train entering a station, another had them chuckling when a cheeky boy tricked a gardener into spraying himself with a hosepipe. People judge a movie by the strength of its story and overall impact, but ultimately what they remember are individual moments and sequences. This perhaps reflects the very nature of film, which is a rapid succession of still pictures that provide an illusion of motion. And until the coming of cassettes and DVDs, few of us were able to see a picture over and over again or re-view a sequence. So we had to replay it in our minds, and naturally we'd often get it wrong. Which is how "Play it again, Sam" entered the language instead of: "Play it, Sam, play 'As Time Goes By'."

James Stewart seems to have been thinking of this approach to cinema when he talked to Peter Bogdanovich about his craft: "What you're doing is… you're giving people little… little, tiny pieces of time… that they never forget." This is echoed by Walker Percy in his 1961 novel The Moviegoer. Some people, his narrator says, "treasure memorable moments in their lives: the time one climbed the Parthenon at sunrise", but "what I remember is the time John Wayne killed three men with a carbine as he was falling to the dusty street in Stagecoach, and the time the kitten found Orson Welles in the doorway in The Third Man". Likewise Jean-Dominique Bauby, the paralysed French writer, describes in The Diving Bell and the Butterfly how he'd lie in the hospital recreating favourite scenes from Touch of Evil, Stagecoach, Moonfleet and Pierrot le fou. Canny film-makers have cottoned on to the idea, like James Cameron, who says: "You try to create one or more emotional, epiphanous moments within a film."

These moments come in many forms – simple, complex, lyrical, violent, gentle, witty, romantic, revelatory – and, if they stick, become as real as any other memory. They can range from the split-second close-up of the suave spy's missing half-finger in Hitchcock's The 39 Steps to the protracted pursuit of Cary Grant by the crop-dusting plane in North by Northwest, from the in-your-face eye-slicing in Buñuel's first silent movie, the avant-garde Un Chien Andalou, to the puzzling sequence of the Chinese businessman's mysterious box in the same director's mainstream success Belle de Jour 40 years later. Like your favourite jokes, your cherished movie moments reveal something about you and, if shared, they can be the beginning of a beautiful friendship, especially if one of them is the final sequence in Casablanca that features that line.

My own favourites? The Odessa Steps sequence from Battleship Potemkin. The love at first sight between John Wayne and Maureen O'Hara in The Quiet Man, the lust at first sight between Fred McMurray and Barbara Stanwyck in Double Indemnity. The children running through the woods to see a train in Pather Panchali and finding grandmother dead on the way back. The cruelly comic soccer match in Loach's Kes. Donald Sutherland and Julie Christie making love in a Venetian hotel in Don't Look Now. The slow-motion mayhem let loose in The Wild Bunch after William Holden says: "If they move, kill 'em!" Perhaps my single favourite moment comes in Citizen Kane, where Kane's now elderly friend Bernstein tells the reporter about an epiphanic memory of seeing a girl in a white dress on the New Jersey ferry in 1896. "I'll bet a month hasn't gone by since that I haven't thought of that girl." It's a moment about remembering a moment, and the actor Everett Sloane makes it so vivid we think we've seen that girl ourselves.

THE FRENCH CONNECTION (1971) - THE SUBWAY CHASE

Chosen by Ryan Fleck, the American indie film director, writer, editor and cinematographer, best known for co-writing and co-directing with partner Anna Boden Half Nelson and Sugar correct(out now on DVD).

The villain's on the elevated subway. You think he's going to get away because a person on foot can't keep up with the subway… But Gene Hackman jumps in a car and starts chasing the subway, riding underneath it, going at 80mph, swerving in and out of traffic. I first saw this scene on video when I was 18 or 19, in college. I loved it.

In action scenes nowadays you can chalk everything up to some kind of computer effect. Audiences no longer really believe that what they're seeing exists anymore. When The French Connection was made that notion didn't really occur to people. What you saw was usually really happening in front of the lens. It was raw. I did a little bit of research about how they shot the scene. Phenomenal. Basically they just did it. There was no security blocking off other traffic, just Hackman in a car with a camera mounted on the front. They went crazy, lost their minds, and went for it.

It was the kind of thing that you just would never get away with these days. I'm editing a movie right now that has a teenager walking on the Brooklyn Bridge, considering suicide. He steps out on to a ledge, over traffic… It never even occurred to put the actual kid out on the ledge, on a bridge, over traffic because we knew there was no way authorities would let us do that. So there's camera trickery. Back in the 70s we'd have just thrown a child out over the ledge, seen what happened, and shot it.

JULES ET JIM (1962) - THE BICYCLE SCENE

Chosen by Ken Loach, writer/director of the influential docudrama Cathy Come Home, and director of nearly 30 films including Kes, Riff-Raff, My Name is Joe and Looking for Eric. He won the 2006 Palme d'Or at Cannes for The Wind that Shakes the Barley.

This scene always cheers you up. Jeanne Moreau and the two guys on their bicycles in the sun in France, the music that goes with it… Partly it evokes what you imagine to be the perfect French vacation but also it's a very fine bit of film-making.

When you're in the business and have been in the business a long time, you tend to dismember about 99% of films as you're watching. The time when you used to watch a film just for enjoyment is difficult to recapture. But just occasionally a film will transcend that. The sense of enjoyment with this trio on their bicycles is perennial. It's completely evocative of that carefree young moment, the age when people are carefree. And then of course, for these three, it will all be ruined by the war.

The song that was composed for the film – "Le tourbillon" – became very famous. I'd sing it for you if I wasn't surrounded by colleagues who would take the piss. I think film music that tells you what to think is cheap – the film should do that without that prompting. But in Jules et Jim it is music in relation to the images, the music has an independent existence and there's a relationship between the two.

It is not something subterranean, there to steer you through every second and push you into feelings that the pictures don't generate themselves.

ALL ABOUT EVE (1950) - BILL'S BIRTHDAY PARTY

Chosen by Beeban Kidron, who came to international attention directing the BBC's adaptation of Jeanette Winterson's novel Oranges Are Not the Only Fruit in 1990. She has since directed several feature films including Bridget Jones: The Edge of Reason and To Wong Foo, Thanks for Everything, Julie Newmar.

Every single line in this scene is quotable. It's the most beautifully written thing, from an era of cinema very closely knitted to the theatre, when the words were supposed to evoke things rather than just be things for people to say while the pictures were going on. That's something that's very often lost 60 years later.

Margo, played by Bette Davis, is a great Broadway actress at the pinnacle of her power: brilliant, sophisticated, bitchy. Her assistant Eve, meanwhile, played by Anne Baxter, is simpering, beautiful and very, very ambitious. Eve is trying to replace Margo, trying to get her next part on Broadway and take her lover, Bill. This is the scene where Margo finally loses her rag, having waited upstairs for Bill to throw him a party before discovering that he's been downstairs with Eve for 20 minutes.

The scene sums up the central themes of the film, to do with Margo's insecurity about age and about the way that Eve is eating into her life. This is referred to in the dialogue all the time: Margo finds Eve and Bill talking and immediately asks if she can join in – "Or isn't it a story for grown-ups?" Bette Davis, despite being so powerful, gives a phenomenal performance of insecurity. That is very, very rarely drawn in the cinema.

The question of ageing and of being replaced by the younger, more beautiful woman is something we can still understand today.

JASON & THE ARGONAUTS (1963) - THE SKELETONS SCENE

Chosen by Nick Park, Oscar-winning animator and writer/director of the Wallace and Gromit films.

As a boy I was into monsters, heroes going off on adventures – and stop-motion animation. I saw trailers for this film and it seemed to be everything I wanted. I remember being at a school fair, just before Christmas, and being desperate to get home to watch it.

The scene that stood out the most, that I found both horrifying and enthralling, was the skeleton fight at the end. The heroes are all live action and the monsters are all done with stop-frame animation. It was a terrific technical feat – I think there were eight animated skeletons or more, cut together quite seamlessly with the live action. The whole choreography of it was amazing. But the story, too, really caught my imagination. These skeletons were planted like seeds, by a wizard chap spreading dragons teeth, and then dead soldiers grow up to fight the Argonauts. So exciting.

At around the same time I saw Ray Harryhausen, the animator, explain on television how he had done the skeletons. I immediately went and built my own models with wire and foam – I think I was planning to film something with my friends, live action, cut together with a sea monster made out of a coat hanger and nylon tights.

Disney films didn't make me want to go home and do it myself because it was shrouded in mystery and technique. But when I saw the skeletons in Harryhausen's film I wanted immediately to do it myself, because you got a sense of how it might be done.

2001: A SPACE ODYSSEY (1968) - THE FINAL SCENE

Chosen by Stephen Poliakoff. After starting out as a playwright, Poliakoff turned to writing and directing television dramas including Shooting the Past, Perfect Strangers and the award-winning The Lost Prince. His feature films include Hidden City and most recently Glorious 39.

Still, after 40 years, people are arguing about the ending of 2001: A Space Odyssey. What the ending means to the film. The computer taking over, the menacing computer howl, the foetus – it has passed into cinema folklore. Science fiction was not a genre that attracted me much, and it was very unsexy in the 1960s. But Kubrick's film was the most original I had ever seen. It came at me for the first time, completely alone, in a cinema on a summer afternoon in 1968. I was 15, and it made an extraordinary impression on me. There was a lot more mainstream "auteur cinema" than there is now, Hollywood studios producing personal films. Nevertheless Kubrick stood alone, a titanic figure that obsessively made films, under great secrecy, and with nobody interfering.

I had never seen such a bold use of cinema, and certainly never such an incredibly obscure ending. To have spent all that time and money and to have the daring – some would say foolhardy daring, but nevertheless a magnificent daring – to end the film on such an elusive and obscure note, I found it amazing as a 15-year-old that anybody should have the balls to do that. It excited me and changed my whole view of what you could do as a writer, whatever medium you were attempting – Kubrick's aspiration to be original. Now it's been much imitated but 2001 was extraordinarily ahead of its time, and has continued to survive and influence generations.

TAXI DRIVER (1976) - THE MIRROR SCENE

Chosen by Stephen Woolley, the award-winning producer best known for his collaborations with director Neil Jordan including Interview with the Vampire and The Crying Game. Recent projects include How To Lose Friends and Alienate People and the forthcoming Made in Dagenham. In 2005 he made his directorial debut with Stoned.

I remember seeing Taxi Driver for the first time in Paris in the 70s. The taxi gliding across New York's wet streets, smoke coming out of the subways, it was all incredibly delicious. It had this thundery Bernard Herrmann score, and when Robert De Niro did his "are you talking to me?" sequence in front of the mirror you suddenly sensed the degree of anger there. It was all bottled up until he explodes with this bravura performance. It's very clever, very economical, everything concentrated on his eyes.

Sequences like this are not only successful because they are so beautifully created but also because they often come at a point in a film where you begin to realise where it's going, you think, "oh my god, I know what this is about". Here you become aware that not only is Travis Bickle schizophrenic but he's aware of his own schizophrenia. He's like a genie in a bottle and you're waiting for him to let the genie out – which he does brilliantly in that horrific sequence later on where he shoots Harvey Keitel's character and saves Jodie Foster's.

The scene was improvised but De Niro had tried out a version of it in an earlier film he made with Brian De Palma, I think it's called Hi Mom! I didn't see it until years after watching Taxi Driver and I remember thinking "I can't believe it – the thing he does in Taxi Driver!"

CARRIE (1976) - THE BLOOD AT THE PROM SCENE

Chosen by Edgar Wright, who co-created Channel 4's Spaced, and has collaborated with comedian Simon Pegg on hit films Shaun of the Dead and Hot Fuzz. His latest directing project, Scott Pilgrim vs the World, is out later this year.

I always describe Carrie as the Grease of horror movies: it resonates with all ages because everybody remembers their awkward teenage phase and can watch it and say – I was the bully or the victim or the person who did nothing. It explores how apocalyptic your rage can be as a teenager. Carrie's not a killer, she's a girl who has been bullied and through a terrible confluence of events ends up burning the school down.

It's also unusual for a horror film. It doesn't have someone being killed every 20 minutes and then a climax – it builds to one huge climax at the prom. School bullies have fixed the prom so that Carrie White will win and they can humiliate her by tipping a bucket of pig's blood over her in front of the whole school. The scene and the excruciating build-up to it is one of the greatest set pieces of all time, full of suspense, with a monumental payoff.

A crane shot sets up the sequence so you know where everyone is positioned and that the bucket of blood is above Carrie and Tommy's heads. Once the plot is set in motion Pino Donaggio's score takes over. The resulting sequence is pure opera.

I first saw Carrie on VHS with my brother's friend when I was about 12. I obsessively read about horror movies and was dying to see it. I've watched it so many times since. De Palma planned the sequence for months and battled the studio over the time spent on filming it. But it was worth the blood, sweat and tears. It still leaves audiences speechless.

REAR WINDOW (1954) - THE OPENING SCENE

Chosen by Claire Denis, who made her directorial debut in 1988 with Chocolat. Subsequent films include Good Work and 35 Shots of Rum. Her latest, White Material, is out in the summer.

We don't have courtyards in France like they do in New York, where Hitchcock's film is set, but we have street buildings that are set very close to each other. From where I stand in my kitchen or my bedroom I can watch neighbours' windows very easily. I'm intrigued by voyeurism, about what is behind windows, and often in my films I stage a scene as if I was peeping in from outside.

The situation Hitchcock establishes in the opening scene of Rear Window is the ultimate voyeuristic situation. The character played by James Stewart has broken his leg, has nothing to do but linger behind his window and watch. He is passive but eager to find something – to be a witness of something, or to give his imagination something to chew on. As a spectator in a cinema theatre, you are a sort of prisoner in a chair, like he is.

Screenshots of Jean-Luc Goadard's "*Pierrot le fou*" [France / Italy 1965]. More screenshots from the German "StudioCanal Collection" Blu-ray, the Criterion Blu-ray, and the Swedish Universal/StudioCanal-DVD *here* (http://www.dvduell.de/artikel/screenshot-vergleich-elf-uhr-nachts-1965-jean-luc-godard/). Here's the subtitle translation of the French-speaking infos about the restoration at the beginning of the movie on the "StudioCanal Collection" Blu-ray: ---Quote--- This film was restored by StudioCanal and the Cinémathèque Francaise with the support of the Franco-American Cultural Fund. Pierrot le fou was shot in Techniscope, on Eastmancolor emulsion. Techniscope was often used at the time, notably for reasons of economy, because the image only took up two perforations per photogramme. The dupe-positive, also printed Techniscope, is lost. As for the internegative, it had become unusable and was destroyed in 1990. A new internegative element was made on reversible film stock, with an anamorphic image on four frames, which is still used to make prints today. However, this element doesn't reflect the qualities of the original work, particularly in terms of the colormetrics. The restoration resides entirely in the making of a new negative from the digitisation in 2K of the camera negative, which has the original colors of Eastmancolor. As for the sound, the original magnetic elements disappeared, a new negative was made from a positive of the period, respecting the original mono format. ---End Quote--- Blu-ray Kinowelt/StudioCanal "StudioCanal Collection" Germany Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/02-elf-uhr-nachts-blu-ray-brd-kinowelt-001-49.jpg Blu-ray Criterion USA Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/02-elf-uhr-nachts-blu-ray-usa-criterion-001-54.jpg DVD Universal/StudioCanal Sweden Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/02-elf-uhr-nachts-dvd-s-universal-001-36.jpg Blu-ray Kinowelt/StudioCanal "StudioCanal Collection" Germany Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/07-elf-uhr-nachts-blu-ray-brd-kinowelt-006-55.jpg Blu-ray Criterion USA Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/07-elf-uhr-nachts-blu-ray-usa-criterion-007-00.jpg DVD Universal/StudioCanal Sweden Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/07-elf-uhr-nachts-dvd-s-universal-006-29.jpg Blu-ray Kinowelt/StudioCanal "StudioCanal Collection" Germany Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/08-elf-uhr-nachts-blu-ray-brd-kinowelt-012-50.jpg Blu-ray Criterion USA Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/08-elf-uhr-nachts-blu-ray-usa-criterion-012-56.jpg DVD Universal/StudioCanal Sweden Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/08-elf-uhr-nachts-dvd-s-universal-012-11.jpg Blu-ray Kinowelt/StudioCanal "StudioCanal Collection" Germany Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/11-elf-uhr-nachts-blu-ray-brd-kinowelt-042-05-frame3.jpg Blu-ray Criterion USA Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/11-elf-uhr-nachts-blu-ray-usa-criterion-042-13-frame6.jpg DVD Universal/StudioCanal Sweden Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/11-elf-uhr-nachts-dvd-s-universal-040-14.jpg Blu-ray Kinowelt/StudioCanal "StudioCanal Collection" Germany Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/13-elf-uhr-nachts-blu-ray-brd-kinowelt-048-16.jpg Blu-ray Criterion USA Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/13-elf-uhr-nachts-blu-ray-usa-criterion-048-27.jpg DVD Universal/StudioCanal Sweden Image: http://www.dvduell.de/blog/wp-content/uploads/2010/02/13-elf-uhr-nachts-dvd-s-universal-046-10.jpg

As the hi-def assault gathers momentum, Optimum Home Entertainment are releasing some bona fide classics on Blu-ray via The Studio Canal Collection. Revisiting Studio Canal's back catalogue, the 15th Feb sees a wonderfully eclectic trio released exclusively on Blu-ray for the first time. What's more, Optimum have 3 sets to give away for lucky Twitch readers in the UK.
 
First up is The Go-Between, based on LP Hartley's novel of the same name, starring Julie Christie, Edward Fox and Alan Bates in a magnificently English period drama, of lusty Victorians and adolescent confusion. This was probably the first film that gave me faith in movies being able to interpret novels successfully, having read the book at school and subsequently dug out the film. An in-her-prime Christie probably helped too...

Next is late period Ealing Comedy with Alexander Mackendrick's The Ladykillers, long before the Coens got their grubby mitts on the screenplay. Alec Guinness and Peter Sellers star as bank robbers who enlist the help of a sweet old lady in their latest heist, only to find her more of a threat than expected.

Lastly there's a classic exponent of the nouvelle vague in Godard's Pierrot Le Fou, as Jean-Paul Belmondo ditches his life of bourgeois dissatisfaction and embarks on a chaotic road trip with an ex-lover. Jump cuts, musical interludes and existential musings abound.

All three films come in new hi-def transfers, with a host of unique special features and accompanying booklets (details below).

For your chance of winning one of the sets, simply email me here with your favourite Godard movie by 20th Feb.

 Winners will be chosen at random from all entries, and Twitch decision is final.

NB: You must be a UK resident to enter.





Blu-ray details:

The Go-Between

SD: Interviews with Joshua Losey (10 mins) / Michael Billington (8 mins) / Patricia Losey New (12 mins) / Gerry Fisher (21 mins) / John Heyman (7 mins)

Horlicks Advert directed by Joseph Losey / Audio recording of Joseph Losey interviewed by Dilys Powell in 1973 New (100 mins)

HD: Trailer / BD Live

Booklet:   Piece by Gavrik Losey, Reprint of essays by Nick James, Editor of Sight & Sound and Dylan Cave, contributor, from Sight & Sound June 2009.

The Ladykillers

SD: Introduction by Terry Gilliam / Commentary with Phillip Kemp / Forever Ealing: Documentary (49 mins) / Interview with Allan Scott (10 mins)/ Interview with Ronald Harwood (7 mins) / Interview with Terence Davies (14 mins)

HD: Cleaning Up The Ladykillers: featurette / trailer / BD-Live

Booklet: Analysis by David Parkinson, film critic and historian, contributor to Empire magazine, Radio Times, Oxford Times and Guardian online film page

Pierrot Le Fou

SD: Introduction by Colin McCabe, Godard expert / Godard, Love and Poetry: Documentary on Godard (53 mins) / Documentary film analysis by Jean-Bernard Pouy (106 mins) / Trailer / German TV Advertisement / Posters (5)

HD: BD Live

Booklet: Analysis of the movie by Roland-Francois Lack, Senior Lecturer in French and Film at University College London.

NB: The division between SD and BD refers to the source material for each specific extra and therefore how they appear on the Blu-ray.

The woes of rights have made a lot of fandom particularly challenging, whether it's seeing your beloved television shows never make DVD due to music rights, ultimate editions never getting released due split studio rights (Fire Walk with Me!), or Criterion titles disappear from the shelves.

Criterion has announced that they're about to lose the rights to 23 excellent titles from StudioCanal at the end of March. "The titles are going to Lionsgate, and we don't know when they may be rereleased. As ever, we will continue to try to relicense the films so that they can rejoin the collection sometime in the future." The titles are: Alphaville, Carlos Saura's Flamenco Trilogy, Le corbeau, Coup de torchon, Diary of a Country Priest, The Fallen Idol, Forbidden Games, Gervaise, Grand Illusion, Le jour se leve, Last Holiday, Mayerling, The Orphic Trilogy, Peeping Tom, Pierrot le fou, Port of Shadows, Quai des Orfevres, The Small Back Room, The Tales of Hoffmann, Trafic, Le trou, Variety Lights, and The White Sheik.

Until they're out of stock, each of these films will be an additional $5 off. So, for a title like Jean Luc Godard's Alphaville, that's $13.96 -- not too shabby at all for a Criterion release of a classic. My top pick would be Last Holiday. Henry Cass' black comedy stars Alec Guinness (the Obi-Wan Kenobi) as a man learning he only has a few months to live. He withdraws all of his money, and heads to a resort to live up his final moments, only to be showered with the most biting luck -- job offers and cash he'll never be able to use.

Don't be discouraged by back-ordered films, Criterion is getting more and states: "We should be back in stock by the middle of next week, and we'll honor all orders placed through the end of March." So, get shopping!

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This is a sad, sad day. The Criterion Collection has announced that they have lost the right to publish a significant group of their titles. I’m aghast. From the sounds of things, all of these titles will now be a part of the Studio Canal/Lionsgate deal which has recently brought us the less-than-spectacular Blu-ray release of Akira Kurosawa’s Ran. You might remember that Criterion was just…

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Got this in my email a few minutes ago... there's some real gems here. Dear Criterion collectors, Our three least favorite initials: OOP. Since we launched the Criterion Collection more than twenty-five years ago, we’ve endeavored to keep everything we’ve published in print. But despite our efforts to renew rights, we are losing a large group of titles from StudioCanal at the end of March, and we wanted to give you advance notice that our editions will be going out of print. Until we’re out of stock, we will be offering these titles at an additional $5 off on our website. The titles are going to Lionsgate, and we don’t know when they may be rereleased. As ever, we will continue to try to relicense the films so that they can rejoin the collection sometime in the future. Here are the titles that will soon be out of print: Alphaville Carlos Saura’s Flamenco Trilogy (Eclipse Series 6) Le corbeau Coup de torchon Diary of a Country Priest The Fallen Idol Forbidden Games (Criterion and Essential Art House editions) Gervaise (Essential Art House edition) Grand Illusion (Criterion and Essential Art House editions) Le jour se lève (Essential Art House edition) Last Holiday (Essential Art House edition) Mayerling (Essential Art House edition) The Orphic Trilogy Peeping Tom Pierrot le fou (DVD and Blu-ray editions) Port of Shadows Quai des Orfèvres The Small Back Room The Tales of Hoffmann (Criterion and Essential Art House editions) Trafic Le trou Variety Lights (Essential Art House edition) The White Sheik Take note: this may be your last chance to pick up spine number 1 from the collection. Happy viewing! The Criterion Collection

In 2007, after flying from his home in Tokyo, Taro Shinoda arrived at the Isabella Stewart Gardner Museum around midnight. Looking up at the moon through the museum's glass ceiling, he was inspired by a connection he had felt since childhood. This view, shared by billions all over the world, connected him, in that moment, to the rest of humanity. His new exhibit, Lunar Reflections, is a two-year project that has taken him from Istanbul to Limerick, in order to re-create the same revelation he experienced that night.

This year, in honor of the evening's full moon, the museum is hosting its first New Year's Eve event, featuring Shinoda's exhibit and films. There will also be a performance of Arnold Schoenberg's Pierrot Lunaire. We spoke with Shinoda from his Tokyo studio.

Tell me about your relationship with the moon.

I was 10 years old. I stayed with my father in the United States, and at that time my mother was staying in Japan. An international telephone call was really expensive, so when I looked at the moon, I thought that the moon, spinning around, could bring my messages [to her].

What did you want to be when you grew up?

I didn't know. My dream was to become an inventor or a scientist.

What did you want to invent?

When I was 10 or 11, I had a notebook called "Inventor Notebook." I designed some kind of boat. At nighttime, the wave is rolling the boat, so inside is like a clock mechanism. It's moving back and forth by the power of the wave. Then this can make electricity to charge the boat's battery.

Do you feel like your interest in science has directed or influenced your art?

I believe my passion is similar to a scientist. I really want to know something, but the difference is, my goal is a different direction from a scientist's. They want to figure out reality from nature, but mine is more philosophic. Everyone is thinking about why we are here, where are we going. My curiosity is always based on that kind of point of view.

Do you think about your audience when you're working on these projects?

I have two personalities in my body, maybe more, but basically it's two. I have one that's curiosity and the other is the audience. So do I do something for the audience? Well yes, but the audience is myself.

Did you have favorite cities to shoot over others?

From the video, you never know where it is, and this is kind of my purpose. We have a different culture, we have a different background, we have a different way to build a city, but somehow we are all human. We are similar things.

What is the sound that you hear during the video?

It's a live sound, it's not a recording. In the courtyard, I put the microphone on the fountain, so there is always dripping water, so I could capture that feeling when I arrived at the Gardner at midnight.

Why is the inclusion of the platform, or engawa, so important to you?

My platform, engawa, is a kind of icon of a place of thinking. So I want people to sit down on my platform and watch the video. My video is not really important. The important thing is in your brain, in your audience's brain. The video is a kind of media to think about something about the world, or nature, or life or meaning.

LUNAR REFLECTIONS:
A MAGICAL NEW YEAR'S EVE
THURSDAY 12.31.09
6PM-9:30PM
$60, $40 MEMBERS AND STUDENTS
TARO SHINODA:
LUNAR REFLECTIONS
UNTIL SUN 1.31.10
TUESDAY-SUNDAY
11AM-5PM/$12, $5 STUDENTS
ISABELLA STEWART GARDNER MUSEUM
280 THE FENWAY
BOSTON
617.566.1401
GARDNERMUSEUM.ORG

Bom, indo direto ao assunto: Eu cheguei a aquele momento da vida em que todo universitário acaba alcançando caso faça tudo direitinho: o famigerado TCC (leia-se monografia). Faz parte. Mas isso me cria um problema.
Montar esse blog, ao contrário do que possa parecer, leva tempo. Preciso buscar notícias, (especialmente em dias como os ultimos, em que raramente tinham coisas interessantes) traduzi-las, e eventualmente um dia não tem nada de relevante a se postar - o que me leva a me desdobrar um pouco mais. Preciso editar imagens no photoshop para colocá-las dentro do padrão de design da página. Sem falar de eventuais pedras no caminho (não houve ranking da Taiyosha semana passada no meu blog simplesmente porque a taiyosha não postou nada em seu próprio blog; leia-se, eu não tinha o que traduzir. E aparentemente, pelo outro ranking, o da Tohan - que infelizmente não separa seus títulos por demográfico - a semana foi muito boa. E novamente a Taiyosha me atrasa hoje). Esse aperto de tempo deixou artigos grandes por terminar (inclusive da série sobre o crescimento do Mangá Global mundo afora, que é particularmente importante para mim), e não quero deixar o blog fora do ar como aconteceu semana retrasada, quando eu tive uma viagem de trabalho. Já andei cometendo um erro primário justamente por estar fazendo mil coisas ao mesmo tempo e não quero que isso aconteça de novo.
O que vou fazer é: até metade de dezembro, teremos vários artigos da época da Neo Tokyo cobrindo espaço quando não houver muitas novidades ou quando eu por algum motivo ou outro não puder postar. O blog continuará moderado, mas eu liberarei os comentários mais a noite, então não se preocupem quanto a isso - vai levar mais tempo, mas vocês lerão o que escreveram e minhas eventuais respostas. Mas eu também quero aproveitar esse momento em que estou me dirigindo a vocês para perguntar: em que esse blog pode melhorar no próximo ano?
Eu ando pensando em várias possibilidades. Abrir espaço para parceria? Mais escritores convidados (eu fiz isso na matéria sobre a Coréia, lembram?)? Enquetes? Seções mais regulares? Não garanto que todas as sugestões sejam aceitas, mas com certeza todas serão ouvidas.
A palavra é de vocês.





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