Buckle up Deep Cut fans! This week we have a special preview episode as Wilson got to sit down with director Ray Yeung to preview his new Berlinale premiering film All Shall Be Well, which is opening at Film Forum on September 20.

Ray discusses his jump from law to filmmaking, and returning to his native Hong Kong to make films about the lives of older gay and lesbian characters in Hong Kong. We dive in deep as we talk about Ray’s two features set in Hong Kong; Suk Suk and All Shall Be Well as well as talking about Ray’s own film influences.

Films/Directors Mentioned:

• Woody Allen
• Women on the Verge of a Nervous Breakdown (1998)
• The Wedding Banquet (1993)
• Rouge (1987)
• The Way We Are (2008)
• Funeral Parade of Roses (1969)

All is well at our FREE patreon, discord server, and our socials @ www.deepcutpod.com

In this final Kiyoshi Kurosawa episode, Wilson brings to the table one of the latest films from the Japanese auteur; the Uzbekistan set To the Ends of the Earth. Ben draws parallels between this film and the work of Kelly Reichardt, and gives us an education on the importance of Atsuko Maeda and idol group AKB48. Eli zeroes in on Kurosawa’s commentary on the camera in this film, as we go behind the scenes of a Japanese travelogue crew abroad. Wilson continues his trend of vibing out with a film as he recounts how this rewatch deeply affected how he felt after losing his wallet.

Links:

• Natalie’s Letterboxd review of the film (thank you for following me back)

• Shaun Neo’s My Endless Numbered Days

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In this episode, we’re laughing and crying to the sweet melodies of Kiyoshi Kurosawa’s 2008 film Tokyo Sonata, and its social commentary on the Japanese nuclear family in the midst of a financial crisis.

We explore the film’s construction of a patriarchal nuclear family, discuss Kyoko Koizumi’s unique role as the mother of the family (taking care of all her boys), and go long on her wild narrative journey in the film’s second half with a surprising supporting actor… Eli finds parallels in Kurosawa’s choices with classic films like King Vidor’s The Crowd and Fritz Lang’s Metropolis, Wilson highlights Kurosawa’s selective cinematographic change-ups, and Ben shares some behind the scenes discoveries of the film’s making.

Links:

• Behind the scenes DVD feature

• NYFF Q&A with Kiyoshi Kurosawa

• Interview with Kiyoshi Kurosawa and actors Teruyuki Kagawa and Kyoko Koizumi

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